TACH 
ION 


FalrmQunt  Pari 


I 

■Krol  h. 


Issloners  of 


RiNEHART  (William  Henry) 
PORTRAIT  IN  MARBLE  OF  WILLIAM  P.  WILSTACH 


THE 

W.  P.  WILSTACH 

COLLECTION 


**  Dost  thou  love  pictures  ?  " 

Taming  of  the  Shrew,  Induction,  Sc.  2 

Look  here  on  this  picture  and  on  this.  " 

Hamlet,  Act  III.  Sc.  4 


EDITED    BY   CAROL   H.  BECK 


Published  by  the  Commissioners  of 
Fairmount  Park 


A.  Loudon  Snowden 
Samuel  Gustine  Thompson 
James  Elverson 
Thomas  S.  Martin 

Jesse  T.  Vogdes 

Park  Bxilxtltot 

George  Wharton  Pepper 


fll0  mmtfi- 
fitnn^rfi  of 

Park  ::  :: 


T.  DeWitt  Cuyler 
A.  S.  Eisenhower 
J.  M.  Hazlett 
John  G.  Johnson 
Sidney  W.  Keith 
George  McCurdy 


James  Pollock 
Eli  Kirk  Price 
John  E.  Reyburn 
E.  T.  Stotesbury 
George  S.  Webster 
P.  A.  B.  Widener 


(ttnmmtttp?  on  lEmortal  If  all 

(In  charge  of  the  W.  P.  Wilstach  Collection) 

Samuel  Gustine  Thompson 

Chairman 


A.  Loudon  Snowden 
James  Pollock 
P.  A.  B.  Widener 
John  G.  Johnson 
James  Elverson 


T.  DeWitt  Cuyler 
John  E.  Reyburn 
J.  M.  Hazlett 
E.  T.  Stotesbury 
Sidney  W.  Keith 


C:OPYRIGHT,  1900 


COMMISSIONERS  OF 
FAIRMOUNT  PARK 


PHILADELPHIA,  U.  S.  A. 


DUNLAP  PRINTING  COMPANY 
Juniper  and  Cherry  Streets     .*.  Philadelphia 


STANDARD  ENGRAVING  CO. 
Seventh  and  Chestnut  Streets  .*.  Philadelphia 


HILADELPHIA  is  indebted  to  the  thoughtful  and 
munificent  generosity  of  Mr.  and  Mrs.  W.  P.  Wil- 
stach  for  the  collection  of  art  treasures  herein 
catalogued.  The  former  devoted  a  fortune,  which 
he  had  gained  in  mercantile  pursuits,  to  his  own 
and  his  fellow-men's  aesthetic  cultivation,  and  during  his  busy 
life  collected  with  much  judgment  and  taste  the  paintings 
and  statuary  which  form  the  nucleus  of  the  Wilstach  collec- 
tion. The  latter  so  increased  the  fortune  which  she  in- 
herited from  her  husband  as  to  enable  her  not  merely  to 
dedicate  the  collection  to  the  perpetual  enjoyment  of  her 
city,  but  also  to  afford  it  an  endowment  for  its  main- 
tenance and  increase  such  as  few  public  galleries  enjoy 
at  the  present  time. 

In  her  original  will,  dated  July  31,  1873,  she  directed  as 
follows : 

.  .  .  Item.  One  other  equal  fourth  part  thereof  unto 
the  City  of  Philadelphia,  if  accepted  by  the  Fairmount  Park 
Commissioners  as  now  authorized  by  Act  of  Assembly,  upon 
the  conditions  and  for  the  purposes  following,  namely : 

'To  erect  a  secure  Art  Gallery  in  said  Park  for  the 
exhibition  of  pictures  and  works  in  the  Fine  Arts,  on  a  plan 
similar  to  the  new  building  for  such  exhibition  at  Dresden  in 
Saxony,  to  be  so  built  as  to  admit  of  extension  with  the 
increase  of  funds  without  impairing  the  harmony  of  the  edifice 
or  destruction  of  any  portion  of  the  original  building;  but 
if  there  should  be  a  suitable  permanent  building  left  in  said 
Park  after  the  Centennial  celebration  of  1876,  in  which  pictures 
mentioned  below  may  be  received  and  preserved  distinctly 
from  other  collections,  so  as  to  be  known  as  the  'Wilstach 
Collection,'  then  the  erection  of  another  building  may  be 
omitted,  and  donations  shall  be  accepted  for  said  collection, 
and  invited  by  the  said  Commissioners. 

'To  the  said  City,  but  to  be  under  the  custody  and  control 
of  the  said  Fairmount  Park  Commissioners,  I  also  direct  all 
my  paintings,  pictures  and  statuary,  including  those  of  my 
late  husband,  to  be  given  and  transferred  to  the  said  city  for 
said  purposes  and  placed  in  the  'Wilstach  Collection.'  Their 


exhibition  shall  be  pubHc,  under  regulations  to  be  established 
by  the  said  Fairmount  Park  Commissioners,  and  as  soon  as 
practicable  shall  be  gratuitous,  and  the  opening  thereof  shall 
be  as  soon  after  my  decease  as  a  gallery  can  be  provided  for 
their  reception. 

**A11  the  said  fourth  of  said  residuary  estates  not  expended 
in  erecting  such  hall  of  art,  and  the  whole,  if  no  such  hall 
shall  be  required  to  be  built  out  of  said  fund,  shall  be  kept 
invested  in  lawful  investments  by  the  said  Fairmount  Park 
Commissioners,  subject  to  the  jurisdiction  of  the  Courts 
having  control  of  testamentary  trusts ;  and  the  income  thereof 
shall  be  by  them  applied  to  the  purchase  of  pictures,  paintings, 
and  statuary  for  said  collection,  always  keeping  in  view  the 
purpose  of  obtaining  objects  of  the  highest  skill  and  beauty, 
that  they  may  be  the  source  of  pleasure  and  the  means  of 
cultivation  and  refinement  of  the  tastes  of  the  people,  be  pure 
in  sentiment,  and  never  minister  to  vulgarity  and  vice. 

"Provided,  however,  that  if  the  principal  should  exceed 
the  sum  of  one  hundred  thousand  dollars,  then  the  excess 
over  that  sum  may  be  used  for  the  purchase  of  works  of  art." 

In  the  final  codicil  to  the  said  will,  dated  March  7th, 
A.  D.  1890,  the  testatrix  devised  to  the  City  of  Philadelphia, 
as  follows: 

"...  Item.  I  give  and  bequeath  to  the  City  of 
Philadelphia  all  my  paintings,  engravings,  statuary,  photo- 
graphs, books  of  art,  and  catalogues  of  various  galleries  in 
Europe,  and  America.  Also  my  books  denominated  ^Dresden 
Gallery,'  containing  engravings  of  the  paintings  in  the  Dres- 
den Galleries,  in  Dresden,  Saxony,  and  all  works  of  art  owned 
by  me  at  the  time  of  my  decease,  in  trust  nevertheless,  to, 
for  and  upon  the  following  uses,  intents  and  purposes,  to  wit : 
To  place  the  said  paintings,  statuary,  photographs  and  works 
of  art  in  the  possession  and  under  the  control  of  the  Com- 
missioners of  Fairmount  Park,  to  be  placed  by  them  in 
Memorial  Hall  in  Fairmount  Park,  there  to  be  preserved  by 
them,  and  taken  care  of  and  kept  in  good  order,  as  the 
nucleus  or  foundation  of  an  Art  Gallery  for  the  use  and 
enjoyment  of  the  people.  The  collection  to  be  kept  together 
and  known  and  designated  by  the  name  of  the  *W.  P.  Wilstach 
Collection.'  And  I  direct  my  Executors  to  transfer  to  the 
Commissioners  of  Fairmount  Park,  in  like  manner  in  trust, 
the  one  other  fourth  part  of  the  residue  and  remainder  of  the 
said  estate  and  estates,  which  said  sum  shall  be  invested  in 
good  and  lawful  securities  by  the  said  Commissioners  of 


Fairmount  Park.  And  the  interest  accruing"  therefrom  shall 
be  used  for  the  maintenance  of  said  Art  Gallery,  in  keeping 
the  same  in  good  order  and  condition  and  providing  of  com- 
petent care-takers,  as  may  be  necessary  to  carry  out,  to  its 
full  and  complete  extent  and  meaning,  the  design  I  have  in 
view  in  making  this  devise  and  bequest  for  the  founding  and 
sustaining  an  Art  Gallery  in  Fairmount  Park  for  the  use  and 
enjoyment  and  benefit  of  the  public.  ..." 

It  is  certainly  a  happy  coincidence  that,  as  anticipated  by 
the  testatrix,  this  collection  should  find  its  first  home  in  the 
memorial  building,  which  during  the  Centennial  Exposition, 
contained  the  first  cosmopolitan  art  collection  exhibited  in 
this  country.  How  much  of  artistic  inspiration  America 
derived  from  this  friendly  rivalry  of  nations  need  not  be  here 
considered.  Our  national  art  was  then  in  its  infancy  and 
suffered  by  comparison  with  its  elder  and  more  favored  sisters. 
Invigorated  by  the  stimulus  of  competition  with  the  master- 
pieces of  other  lands,  it  has  since  attained  such  sturdy  growth 
as  to  challenge  comparison  with  the  best  of  every  clime. 

Memorial  Hall  is,  however,  reserved  more  especially  for 
the  exhibition  of  works  of  industrial  art,  and  it  was  accord- 
ingly only  a  question  of  time  when  the  Wilstach  collection 
would  require  a  special  and  more  suitable  building  for  its 
pictures. 

The  liberal  spirit  and  broad-minded  enterprise  of  Phila- 
delphia has  already  planned  a  future  home  for  this  collection, 
and  of  others  which  may  hereafter  be  given  to  the  city  of 
Philadelphia  by  public-spirited  citizens.  It  is  gratifying  to 
note  that  the  manner  in  which  this  design  was  selected,  and 
the  means  proposed  towards  its  beginning  have  received 
general  acquiescence  and  pubHc  approval. 

At  the  instance  of  the  Fairmount  Park  Commission  the 
Councils  of  the  City  of  Philadelphia  appropriated,  in  the  year 
1894,  the  sum  of  $15,000,  to  pay  the  expenses  of  a  competi- 
tion, which  should  be  open  to  the  architects  of  the  world,  for 
an  appropriate  design  for  an  art  gallery,  in  which  the  Wilstach 
and  other  collections  could  be  permanently  placed.  The  Park 
Commission  issued  a  circular,  in  which  four  prizes,  of  $6000, 
$3000,  $2000,  and  $1000,  respectively,  were  offered  for  the 
four  most  meritorious  designs ;  and  as  a  result  of  this  excep- 
tionally munificent  offer,  designs  were  sent  in  by  architects 
from  different  parts  of  the  world. 

The  result  was  such  an  embarras  des  richesses  that  the 
chief  difficulty  became  one  of  selection.    For  this  purpose  a 


committee  of  experts  was  appointed  to  report  to  the  Park 
Commission  the  eight  most  acceptable  plans  in  the  order  of 
merit.  The  experts  could  not  have  been  better  selected. 
They  were  Daniel  H.  Burnham,  of  Chicago,  so  favorably 
known  in  connection  with  that  magnificent  triumph  of  Amer- 
ican art,  the  Chicago  Exposition;  Stanford  White,  of  New 
York,  who  could  speak  on  matters  of  architecture  ex  cathedra; 
William  R.  Ware,  of  Columbia  College ;  Joseph  M.  Wilson,  a 
distinguished  engineer  of  this  city,  and  John  G.  Johnson,  Esq., 
of  the  Philadelphia  Bar.  On  December  3,  1895,  this  Com- 
mittee of  Experts  made  its  report,  and  the  Fairmount  Park 
Commission  on  the  same  day  adopted  its  conclusion.  The 
first  prize  was  awarded  to  James  Bite  and  Henry  Bacon,  of 
New  York;  the  second  to  Lord,  Hewlett  and  Hull,  of  the 
same  city;  the  third  to  Marcel  Perouse,  of  Paris,  and  the 
fourth  to  Howard  and  Caldwell,  of  New  York.  Both  Com- 
mittee and  Commission  were  unanimous  in  this  award,  and 
the  design  can  hardly  fail  to  win  general  commendation.  The 
several  experts  were  enthusiastic  as  to  the  character  of  the 
work  submitted  in  competition,  and  especially  as  to  the  design 
which  received  the  first  prize.  Their  report  states,  that  in 
determining  their  selection  regard  was  had  to  the  conditions 
required  "for  an  extensive  art  museum,  namely,  continuous 
galleries  in  both  stories,  surrounding  large  top-lighted  courts. 
.  .  .  .  Its  exterior  and  interior  treatments  are  the  finest, 
and  most  satisfactory,  and  we  recommend  its  adoption  by 
the  Commission  as  the  one  which  best  fulfills  the  requirements 
of  the  problem  both  from  a  practical  and  architectural  stand- 
point ;  and  we  believe  from  the  careful  study  of  detail  shown 
by  these  drawings  that  the  Commission  can  entrust  the  build- 
ing of  the  museum  to  its  author  or  authors  with  confidence ; 
that  its  faults  can  easily  be  corrected,  and  that  the  completed 
building  will  justify  its  selection.  We  recommend  the  use  of 
white  marble  for  the  exterior  of  the  Art  Museum." 

Whether  this  noble  project  can  be  successfully  carried 
out,  or  not,  the  Wilstach  collection  of  pictures  has  already 
taken  rank  with  the  art  collections  of  the  world. 

It  cannot  fail  to  carry  out  the  noble  purpose  of  its  donors, 
"to  be  the  source  of  pleasure  and  the  means  of  cultivation 
and  refinement  of  the  tastes  of  the  people. ' '  In  a  community, 
world-famous  for  its  great  material  interests,  it  will  teach  the 
infinite  utility  of  beauty.  Generations  unborn  will  honor  its 
donors  and  draw  artistic  inspiration  from  their  noble  gifts 
This  is  their  monument,  serving  to  perpetuate  the  memory  of 


tneir  philanthropy  and  public  spirit  to  the  after  ages.  May 
tnis  important  public  work  be  continued  by  those  to  whom 
the  trust  is  confided,  in  the  spirit  of  Ruskin,  whose  great  mes- 
sage to  men  was  the  high  moral  purpose  of  art: 

When  we  build,  let  us  think  that  we  build  forever.  Let 
it  not  be  for  the  present  delight  nor  for  the  present  use  alone  ; 
let  it  be  such  work  as  our  descendants  will  thank  us  for  and 
let  us  think,  as  we  lay  stone  on  stone,  that  a  time  is  to  come 
when  these  stones  will  be  held  sacred  because  our  hands  have 
touched  them  and  that  men  will  say  as  they  look  upon  the 
labor  and  wrought  substance  of  them :  *See,  this  our  father 
did  for  us.'  '' 


ABBREVIATIONS 


A,  N.  A. ,  Associate  of  the  National  Academy. 

N.  A.,  National  Academician. 

A.  R.  A. ,  Associate  of  the  Royal  Academy. 

R.  A.,  Royal  Academician. 

N.  A.  D.,  National  Academy  of  Design. 

P.  A.  F.  A.,  Pennsylvania  Academy  of  Fine  Arts. 

E.  U.,  Exposition  Universelle. 


PAINTINGS 


ACHENBACH  (Andreas)  Diisseldorf 

Born,  Cassel,  1815 
Pupil  of  Schirmcr 
Medals,  1839-55-67 
Legion  of  Honor,  1864 
Knight  of  the  Order  of  Leopold 
Member  of  the  Berlin,  Antwerp,  and  Amsterdam  Academies 

Andreas  Achenbach  painted  a  large  number  of 
German  and  Norwegian  landscapes,  treating  moun- 
tain, forest  and  sea  with  like  ability  and  strength. 

1.  Mill  in  Westphalia — Storm  Approaching 

42V2  X  18% 

2.  Landscape 

21  X  18% 

ACHENBACH  (Oswald)  Dusseldorf 

Born,  Dusseldorf,  1827.   Died,  Dtisseldorf,  1905 
Pupil  of  his  brother,  Andreas 
Medals,  1859-61-63 
Legion  of  Honor,  1863 

Oswald  Achenbach  has  a  more  ideal  conception 
of  nature  than  his  brother.  His  representations  of 
peculiar  atmospheric  efifects  and  of  Southern 
scenery  are  very  successful. 

3.  Street  Scene,  Naples 

42  X  4^V2 

ALEXANDER  (John  W.)  New  York 

Born,   Pittsburg.  Contemporary 
Medal,  1900,  E.  U.  Hors  Concours 
Legion  of  Honor,  1901 
Societaire  de  la  Societe  Nationalc  des  Beaux-Arts 

This  portrait  of  the  celebrated  Norwegian  artist, 
Fritz  Thaulow,  is  strong  in  characterization.  Ex- 
pressed with  frankness  and  force,  the  treatment  is 
thoroughly  individual,  fluent  and  direct.  Mr. 
Alexander  is  one  of  the  most  distinguished  of  con- 
temporary American  painters. 

4.  Portrait  of  Fritz  Thaulow 

35  X  47 


AMBEBG  (Wilhelm)  BerUn 

Born,  Berlin,  1822 

Pupil  of  Hcrbig,  the  Berlin  Academy,  Karl  Begas,  and  Leon  Cogniet  (Pahs) 
Member  of  Berlin  Academy,  1869 

5.  Contemplation 

23  X  28^4 

ANSELMI  (Michelangelo)  Italy 

Born,  Lucca,  1491.    Died,  Parma,  after  1554. 
Pupil  of  II  Sodoma.    Influenced  by  Correggio 
Lombard  School 

When  Correggio  was  chosen  to  decorate  the  cupola 
and  the  tribune  of  the  Cathedral  at  Parma,  Anselmi 
was  one  of  three  men  selected  to  decorate  the  chapels. 
The  affinity  between  the  twO'  artists  led  to  Anselmi 
becoming  the  disciple  and  imitator  of  the  'Taun  of 
the  Renaissance/'  Correggio,  the  lover  of  joyousness, 
tenderness,  charm  and  beauty. 

6.  Flora 

ssVg  X  30% 

7.  The  Death  of  Leander 

.    63%  X  44% 

Anthonissen  (H.  (Hendrik?)  Van)  Holland 

Flourished  middle  of  17th  Century 

This  characteristic  coast  scene  has  a  charm  of 
atmospheric  effect,  a  delicacy  of  color  and  a  distinc- 
tion of  tone  which  command  the  highest  admiration. 
This  quality  of  luminous,  enveloping  gray  also  con- 
stituted the  charm  of  the  work  of  Van  Goyen  to 
whose  influence  Anthonissen  was  most  responsive. 

8.  Marine  View 

48^2  X  33% 

AUBLET  (Albert)  Paris 

Born,  Paris,  1851 
Pupil  of  Jacquard  and  Gerome 
Medals,  Paris,  1880-89,  E.  U.    Munich,  1883 
Legion  of  Honor,  1890.    Hors  Concours 
Chevalier  de  I'Grdre  de  Saint  Michel  de  Baviere 

Membre  de  la  Societe  des  Artistes  frangais 
Societaire  de  la  Societe  Nationale  des  Beaux-Arts 

This  picture  is  a  daring  and  successful  experiment. 
A  clear  and  positive  green  Hght  diffuses  the  flesh 
tones  of  the  figure  as  well  as  a  room  that  is  full  of 
warm  red  color.  The  result  is  effective,  being  ad- 
ditionally distinguished  by  intelligence  and  veracity. 

9.  Woman  Asleep 

35%  X  4SV2 

AVERCAMP  (Hendrick)  Holland 

(Surnamed  de  Stomme  (Mute)  van  Kampen) 
Born,  probably  at  Kampen,  about  1585.    Died  about  1635 

Winter  scenes,  such  as  the  present  picture,  form 
the  subject  of  most  of  the  valued  paintings  by 
Avercamp.    Many  skaters  are  seen  sharply  defined 


against  the  ice,  those  in  the  center  of  the  picture  be- 
ing engaged  in  some  national  sport.  The  well 
dressed  burgher  and  the  humble  villager  pass  back 
and  forth  from  the  surrounding  picturesque  village. 
This  entire  scene,  characteristc  of  Holland,  is  pre- 
sented in  a  charming  tone  of  silver  and  gray. 

10.  Ijandscape 

34  X  20^4 

BAOCICCIO  IL  (Qio.  Battista  Gaulli)  Italy 

Born,  Genoa,  1639.    Died,  Rome,  1709 
Pupil  of  Luciano  Borzone 
Genoese  School 

This  painter  so  developed  his  abilities  by  an  early 
study  of  the  great  masters  at  Rome  that  he  won  both 
position  and  wealth.  His  most  important  r,eligious 
picture  decorates  the  Church  of  the  Gesu  at 
Rome.  Bacciccio  painted  the  portraits  of  many  of 
the  illustrious  nobles  and  cardinals  of  his  time  and 
had  the  unique  experience  of  painting  no  less  than 
seven  of  the  popes.  Bacciccio  was  an  accomplished 
machinist  as  well  as  a  famous  artist 

11.  Archangel  Gabriel  Pursuing  Lucifer 

60%  X  41V2 

BABKEB.  (Thomas)  (called  Barker  of  Bath)  England 

Born,  Pontepool,  England,  1769.    Died,  Bath,  1847 
Studied  with  his  father,  Benjamin  Barker,  and  in  Rome 

Thomas  Barker  spent  the  first  four  years  of  his 
artistic  life  in  copying  the  works  of  the  Dutch  and 
Flemish  masters.  Finding  a  valuable  patron  in  Mr. 
Spackman,  a  wealthy  coach  builder  of  Bath,  he  was 
later  given  the  opportunity  to  follow  his  artistic 
bent.  After  an  advantageous  visit  to  Rome  he 
returned  to  Bath  and  entered  upon  a  very  suc- 
cessful career. 
13.  Gypsies  on  the  Heath 

41%  X  30 

BASSANO  (Jocopo,  the  elder)  (Jacopo  da  Ponte)  Italy 
Born,  Bassano,  1510.    Died,  Bassano,  1592 
Pupil  of  Francesco  de  Ponte,  Bonifazio  Veneziano  and  possibly,  Titian 
Venetian  School 

This  genre  painter  of  Venice  won  the  highest 
praise  even  from  such  masters  as  Titian  and  Tin- 
toretto. Paola  Veronese  so  appreciated  his  ability 
.  that  he  sent  his  son  Carlo  to  him  to  be  instructed 
in  the  ''just  disposition  of  lights  reflected  from  one 
object  to  another,  and  in  those  happy  counter  posi- 
tions, owing  to  which  the  depicted  object  seems 
clothed  with  a  profusion  of  light."  Bassano  treated 
religious  subjects  as  though  they  were  the  familiar 
scenes  of  his  own  time,  thus  unconsciously  render- 


ing  the  simple  country  life  that  surrounded  him. 
Berenson  writes:  '*Most  of  his  pictures  seem  as 
dazzling,  then  as  cooling  and  soothing,  as  the  best 
kind  of  stained  glass;  while  the  coloring  of  details, 
particularly  of  those  under  high  lights,  is  jewel  like, 
as  clear  and  deep  and  satisfying  as  rubies  and 
emeralds/' 

13.  Ecce  Homo 

31  X  3SV2 

14.  The  Buffeting  of  Christ 

47  X  34% 

BASTIEN  (Alfred)  Belgium 
Born,  Ixelles,  Contemporary 
Associc  de  la  Socicte  Nationale  des  Beaux-Arts 

This  portrait  of  the  sculptor  Kerfyser  in  his  studio 
will  interest  every  student  of  painting.  Its  technique 
is  exceptionally  vigorous.  It  shows  power,  precision 
of  form,  correctness  of  drawing  and  solidity  of  struc- 
ture. The  varied  and  harmonious  scheme  of  color 
is  equally  well  selected. 

15.  Portrait  of  a  Sculptor 

59%  X  78% 

BASTIEN-LEPAGE  (Jules)  Paris 

Born,  Damvillers,  1848.    Died,  Paris,  1884 
Pupil  of  Cabancl 

Medals,  1874-75-78.    Legion  of  Honor,  1879 

An  artistic  career  of  but  twelve  years,  yet  great  in 
achievement.  The  truth,  force  and  sincerity  of  his 
art  have  won  world-wide  recognition  and  admira- 
tion. Among  his  brother  artists  he  is  especially 
valued.  The  distinguished  painter,  Dagnan-Bou- 
veret,  writes:  "He  is  always  present  with  me,  and 
whenever  I  paint  a  new  picture,  I  ask  myself  if  it 
would  have  satisfied  him.''  Jules  Breton  says:  "Bas- 
tien-Lepage  will  leave  a  lasting  fame.  This  young 
artist,  cut  down  in  the  flush  of  his  promise,  was  a 
true  investigator.  How  conscientious  was  his  work! 
*  In  Bastien  Lepage,  France  has  lost  her  Hol- 
bein!" 

16.  In  the  Fields 

40  X  30.    Dated  1880 

BAUGNIET  (Charles) 

Born,  Brussels,  1814 
Pupil  of  J.  Paelwick  and  M.  F.  Williams 
Member  of  Ghent  Academy  in  1836 
Order  of  Leopold,  1843;  Officer,  1872 
Order  of  Isabel  the  Catholic  of  Spain 
Order  of  Blanche  Ernstein  of  Saxony 
Order  of  Christ  of  Portugal 

17.  The  Joy  of  the  House 

6x8 


Paris 


1  "^^tin.pr  of  Christ 

'  34/4 


This  r 


BA8XI£N-L£PAG£  ( 


v'aiued.     i  1 
veret,  writes 
whenever  I  paint 
would  have 
tien  "Lepage 
artist,  rut  r 


Paris 

Officer,  1- 


B  asttex-Lepage 
IX  THE^  FIELDS 


Catalogue  Number  i6. 


BEABD  (William  H.)  New  York 

Born,  Ohio,  1835.    Died,  1900. 
National  Academician,  1862 

18.  Gray  Squirrel 

9x6.   Dated  1863 

BECKEB  (Karl  Ludwig  Friedrich)  Berlin 

Born,  Berlin,  1820 
Pupil  of  Von  Klober,  Hess  and  Cornelius 
Medals,  Paris,  1861.    Berlin,  Vienna  and  Munich 
Officer  of  Leopold 
Member  of  Academies,  Berlin  and  Vienna 
Member  of  Royal  Society  of  Letters  and  Fin*  Arts  of  Belgium 

19.  The  Count's  Birthday 

56  X  43V2 

BEERSTRAATEN  (Jan)  Amsterdam 

Born,  Amsterdam,  about  1622.    Died,  Amsterdam,  1687 

A  painter  who  holds  a  distinct  place  in  the 
Amsterdam  school,  although  his  name  is  not  men- 
tioned by  any  contemporary  biographer.  Richly 
represented  in  Sweden,  there  are  also  fine  examples 
in  the  State  Museum,  Town  Hall  and  private  col- 
lections of  Am'sterdam,  in  the  galleries  of  Rotter- 
dam, Berlin,  Dresden,  Munich  and  Paris.  His  favor- 
ite subjects  were  winter  scenes,  painted  with  sub- 
dued^ rich  harmonies  of  grey  yet  showing  fine  con- 
trasts of  light  and  shade. 

20.  Winter  Landscape 

49  X  34H 

BEBAUD  (Jean)  Paris 

Born,  St.  Petersburg,  of  French  parents,  1849. 
Pupil  of  Bonnat 
Medals,  1882-83-89,  E.  U.    Hors  Concours 

Legion  of  Honor,  1887;  Officer,  1894 
Membre  de  la  Societe  des  Artistes  frangais 
Fondateur  de  la  Societe  Nationale  des  Beaux-Arts 

Generally  an  interpreter  of  Parisian  elegance,  in 
'The  Adieuxs/'  Beraud  has  selected  a  motive  more 
dramatic  in  appeal.  The  result  is  a  spirited  piece 
of  illustration  inspired  by  contemporary  French 
events.  In  setting  the  scene,  the  artist  aptly  con- 
trasts the  peaceful  beauty  of  the  convent  gate  with 
the  factory,  which  symbolizing  modern  material- 
ism sends  its  black  smoke  across  the  calm  sky. 

21.  The  Adieuzs 

21^  X  26 

BEBOUD  (Louis)  Paris 

Born,  Lyons,  1852 
Pupil  of  Gourdet,  Bonnat  and  Lavastre 
Bourse  de  voyage,  1883.    Medals,  1883-89,  E.  U. 
Hors  Concours 
Membre  de  la  Societe  des  Artistes  frangals 

Thoroughly  well  considered,  there  is  both  sincerity 
and  conviction  in  the  frank  realism  of  this  picture. 


The  problem  of  the  many  values  in  relative  color, 
mevitable  when  painting  a  gallery  hung  with  pic- 
tures, has  been  met  with  taste  and  authority. 

22.  Rubens  Gallery  in  Museum  of  Louvre 

72%  X  70% 

BBYEREN  (Abraham  Van)  HoUand 

Born,  The  Hague  in  1630  or  1621.    Died  after  1674 
Master  of  the  Guild  at  The  Hague,  1640.    At  Delft,  1657 
Member  of  the  Guild  at  Alkmarr,  1674 

"The  most  necessary  quality  of  the  ambitious  in 
art  is  patience,''  says  Alfred  Stevens.  Assuredly, 
then,  the  still  life  painters  of  Holland  have  deserved 
their  celebrity.  They  have  reproduced  for  us  the 
most  minute  detail  of  their  subject  and  always  with 
good  massing,  fine  color  and  breadth  of  effect. 

23.  still  Life  (Fish) 

X  281/2 

BICCI  (Neri  Di  Bicci  Di  Lorenzo  Di)  Florence 

Bom,  1419.   Died  1491 
Florentine  School 

Although  lacking  originality  and  force,  this  altar- 
piece  is  given  with  much  purity  and  richness  of 
color.  There  is  tenderness,  repose  and  a  refine- 
ment of  spiritual  ideals  in  its  graceful  decoration.  It 
represents  the  Virgin  and  Child  enthroned^  St. 
Francis,  St.  Catherine  and  two  other  saints  on 
either  hand.  Many  pictures  by  Neri  di  Bicci  are  to 
be  found  in  the  churches  of  Tuscany,  and  four  pic- 
tures of  the  Annunciation  are  at  the  Academy  of 
Arts  in  Florence. 

24.  Virgin  and  Child  with  Four  Saints 

76y4  X  SZV4, 

BILLET  (Pierre)  France 

Born,   Cantin.  Contemporary 
Pupil  of  Jules  Breton 
Medals,  1873-74-89,  E.  U.    Hors  Concours 
Membre  de  la  Societe  des  Artistes  frangais 

The  representations  of  peasant  life  painted  by 
Pierre  Billet  are  replete  with  simple,  earnest  feeling 
and  a  calm  comprehension  of  the  actual.  They  are 
admirably  expressed,  modelled  with  firmness  and 
solidity  and  rendered  with  a  realism  that  proves  his 
entire  sympathetic  understanding  of  these  phases  of 
peasant  life. 

25.  The  Noon  Day  Rest. 

58  X  45 

BILLOTTE  (Kene)  ,  Paris 

Bom,  Tarbes,  Hautes-Pyrenees 
Honorable  Mention,  1881.      Medal,  1889 
Legion  of  Honor,  1889.    Hors  Concours 
Fondateur  de  la  Societe  Nationale  des  Beaux- Arts 


This  thoughtful  effect  at  nightfall  is  given  with 
subtle  skill  and  a  sympathetic  touch. 

26.  Evening  at  the  Gate  of  Courcelles 

32  X  231/2 

BLAUVELT  (Charles  F.)  Philadelphia 

Bofn   New  York,  1824 
Pupil  of  the  National  Academy  and  of  Charles  L.  Elliot 
National  Academician,  1859 
Member  of  Pennsylvania  Academy,  1864 

27.  The  Lost  Child 

8  X  12 

BOGGIO  (Emile)  France 

Born,  Venezuela.    Naturalized  Frenchman 

Pupil  of  J.  P.  Laurens  and  H.  Martin 
Medals,  1889,  1900,  E.  U.    Hors  Concours 
Membre  de  la  Societe  des  Artistes  frangais 

Thou  shalt  gain  thy  bread  in  the  sv^eat  of  thy 
brow'  was  written  centuries  ago.  Immutable  des- 
tiny which  none  may  change/'  comments  Millet,  the 
artist  poet  of  labor.  The  power  and  permanence  of 
this  element  in  life  is  here  represented,  combined 
with  a  majestic  conception  of  nature  that  is  very 
impressive.  The  figure  of  the  man — so  full  of  un- 
complaining eloquence — and  the  powerful  white 
oxen  which  he  is  guiding,  are  enveloped  in  the  cool 
twilight,  yet  they  are  illumined  by  the  golden  light 
of  the  sun,  towards  which  they  steadily  advance. 

28.  Labor 

1261/2  X  861/4 

BONFIELD  (George  K.)  Philadelphia 

Born,  England,  1802.    Died,  Philadelphia,  1898 
An  early  member  of  the  Pennsylvania  Academy  of  the  Fine  Arts 

29.  River  Scene 

36  X  24.    Dated  1854 

30.  The  Wreckers — A  Coast  View 

17  X  12.    Dated  1855 
BONHEUB  (Marie  Bosa)  France 

Born,  Bordeaux,  1822.    Died,  1899 
Pupil  of  h«r  father,  Raymond  Bonheur 
Founded  Paris  Free  School  of  Design  for  Young  Girls,  1849 
Medals,  1845-48-55-67.    E.  U. 
Legion  of  Honor,  1865;  Officer,  1894 
Cross  of  San  Carlos,  1865;  of  Leopold,  1880 
Member  of  Antwerp  Institute,  1868 
Commander's  Cross  of  Royal  Order  of  Isabella  the  Catholic,  1880 
Officer  of  the  Most  Noble  Order  of  Santo  Jacobo,  1894 

When  the  King  of  Belgium  conferred  the  Leo- 
pold Cross  upon  this  ''honored  master/'  as  Claretie 
terms  Rosa  Bonheur,  it  was  given,  it  is  said,  for  the 
first  time  to  a  woman.  The  Emperor  Napoleon 
III.  hesitated  to  honor  her  work  with  the  Cross  of 
the  Legion  of  Honor^  lest  popular  judgment  might 


condemn  the  award.  When  he  decided  finally  that 
the  question  of  sex  should  not  interfere  with  the 
recognition  of  such  conspicuous  merit,  the  Em.- 
press  Eugenie  surprised  the  artist  in  her  studio,  and 
''Saluting  the  new  knight  with  a  kiss/'  Rosa  Bon- 
heur  relates,  *'she  pinned  the  -  decoration  to  my 
black  velvet  jacket."  During  the  Franco-Prussian 
war,  the  studio  and  residence  of  the  artist  were  re- 
spected by  special  command  of  the  Crown  Prince  of 
Prussia,  afterward  the  Emperor  Frederic  of  Ger- 
many. She  painted  animal  life  with  a  hearty  love, 
vigorous  style  and  fine  feeling  for  color,  space  and 
composition. 

81.  Barbaro  After  the  Hunt 

5iy4  X  38 

BONINGTON  (Bichard  Farkes)  England 

Born,  Arnold,  near  Nottingham,  1801.    Died,  London,  1828 
Pupil  of  Ecole  des  Beaux  Arts  and  Baron  Gros 
Gold  Medal,  1824 

Bonington  was  of  English  parentage  but  of  es- 
sentially French  training.  During  his  short  life  he 
created  a  profound  impression  on  the  art  of  both 
countries,  by  the  breadth,  frankness  and  freedom 
with  which  he  observed  and  rendered  nature.  In 
1822  he  visited  Venice  and  studied  with  great  suc- 
cess the  warm  coloring  of  the  Venetians.  On  his 
return  to  England  he  received  many  commissions. 
A  sunstroke,  incurred  while  sketching,  developed 
brain  fever,  from  which  he  never  recovered.  At  the 
age  of  twenty-seven  his  promising  career  was  cut 
short  by  death.  "I  have  never  known  in  my  own 
time  an  early  death  of  talent  so  promismg,  so  rapidly 
and  obviously  improving,"  writes  Sir  Thomas  Law- 
rence, 

82.  Landscape  in  Normandy 

10  X  12 

BOTH  (Jan)  Utrecht 

Born,  Utrecht,  1610.    Died,  Utrecht,  after  1650 
Pupil  of  his  father 
Dean  of  the  Guild,  1649 

This  celebrated  Dutch  painter  and  his  brother, 
Andries,  went  to  Italy  in  their  early  youth,  and  there 
acquired  w^ide  reputation  and  large  fortunes.  These 
brothers  were  greatly  attached  to  each  other  from 
their  infancy,  and  in  later  years  worked  together  on 
one  canvas  with  such  perfect  harmony  that  it  is  diffi- 
cult to  distinguish  any  difference  of  thought  in  the 
figures  and  animals,  painted  by  Andries,  and  the 


.11  ladnifjZ  3uboIbJb^ 


lea  nnaii y  thai 
:  rfere  with  the 
:ous  merit,  the  Em- 
tist  in  her  studio,  and 
ih  a  kiss/'  Rosa  Bon- 
1  the 'decoration  to  my 
iJuring  the  Franco-Prussian 
idence  of  the  artist  were  re- 
aiand  of  the  Crown  Prince  of 
rward  the  Emperor  Frederic  of  Ger- 
l>ainted  animal  life  with  a  hearty  love, 
!e  and  fine  feehng  for  color,  space  and 


;  Hunt 

5iy4  X  38 

BONINGTON  (Hiclxard  Parkes)  Bngland 

!.    DiH,  London,  i8j6 
and  Faron  Grot 

ntially  French  training.    D  lort  life  he 

eated  a  profound  impression  on  the  art  of  both 
■  ■  •  i     q  ]v/  i%^^«»^flM^Ri*rftq4^diess  and  freedom 
BARBARO  AFTER  TflB  ^i^y^d  nature.  In 
studied  with  great  suc- 
'  c  Venetians.    On  his 
)  many  commissions, 
oke,  incurred  while  sketching,  developed 
biaai  i  .  /er,  from  which  he  never  recovered.   At  the 
age  of  tw^entv-seven  hi<?  promising  career  was  cut 
»h  lever  known  in  my  own 


Landscape  in  Normandy 

ID  X  12 

BOTH  (Jan)  XTtrecht 

Born,  Utrecht,  itn.  'frcht,  after  1650 

r— her 

lite  Gttiidr  1649 

*nter  and  his  brother, 
,  early  youth,  and  there 
cputation  and  large  fortunes.  These 
e  greatly  att;acbed  to  each  other  from 
t\.'  ,  ,  and  in  later  years  worked  together  on 

>ne  canvas  with  such  perfect  harmony  that  it  iSt^diite  Number 
cult  to  distinguish  '  '     rice  of  ^       '  '  in  the 

^r^^n'^  and  animal  by  Ars  nd  the 


landscape  painted  by  Jan.  Bryan  has  said :  *'Tbe 
sympathy  of  their  affections  had  blended  itself  with 
the  exertion  of  their  talent ;  and  in  their  works  every- 
thing was  warm,  tender  and  harmonious."  They 
continued  working  together  in  Italy  until  separated 
by  death. 

33.  Landscape  and  Horseman 

38x37 

BOUGUEREAU  (William  Adolphe)  Paris 

Born,  La  Rochelle,  1825.  Contemporary 
Pupil  of  Picot  and  Ecole  des  Bcau^-Arts 
Prix  de  Rome,  1850 
Medals,  1855-57-67.    Medals  of  Honor,  1878-85 

Legion  of  Honor,  1859;    Officer,  1876;    Commander,  1885 
Member  of  Institute,  1876 

Only  the  marked  artistic  ability  exhibited  by 
Bouguereau  reconciled  his  parents  to  his  with- 
drawal from  a  business  career.  He  was  the  archi- 
tect of  his  own  fortune,  earning  by  portrait  paint- 
ing the  money  which  enabled  him  to  study  in  the 
art  schools  of  Paris.  A  large  number  of  his  pictures 
are  to  be  found  in  America,  where  he  has  probably 
appealed  to  a  more  varied  public  than  any  other 
modern  painter.  ''We  admit  that  a  little  more  frank- 
ness in  the  touch  would  give  to  his  painting  a  reality 
which  sometimes  is  wanting,"  writes  Rene  Menard, 
"but  whether  he  paints  mythological  subjects  or 
rustic  scenes,  M.  Bouguereau  always  exhibits  three 
qualities  which  justify  his  reputation, — knowledge, 
taste  and  refinement." 

34.  The  Thank  Offering 

42  X  571/2 

BOUTELLE  (D.  W.  C.)  Bethlehem,  Pa 

Born,  New  York,  1820.    Died,  1884 
Associate  of  the  National  Academy,  1853 
Member  of  the  Pennsylvania  Academy  of  the  Fine  Arts,  1862 

85.    Lehigh  Valley,  from  Mt.  Rogers,  with  Bethlehem  in  the 
distance 

50  X  40.    Dated  1861 

36.  Fish  Trap  on  the  Lehigh  River 

22  X  22 

37.  June  Scene  near  Bethlehem,  Pa. 

32  X  24 

BRANDI  (Giacinto)  Italy 

Born,  Poli  (?)  1623.    Died,  1691 
Pupil  of  Lanfranco 
Roman  School 

Lanzi  reports  that  Brandi  "wrought  with  great 
facility  and  filled  Rome  and  the  state  with  his  works ; 
but  his  inordinate  love  of  gain  induced  him  to  hurry 


his  works,  and  to  neglect  correctness  of  design.  He 
sometimes,  however,  went  beyond  himself,  and  pro- 
duced som.e  noble  works/'  Among  these  must  be 
placed  the  ''St.  Cecelia/'  so  efifective  is  the  presenta- 
tion of  the  subject,  so  flowing  the  brushwork. 

38.  St.  Cecelia 

68  X  86% 

BRETOlsr  (Jules  Adolphe)  France 

Born,   Courrieres,  1827.      Died,   Paris,  1906 
Pupil  of  Devigne  and  Drolling 
Medals,  1855-57-59-61-67-72.       Also  at  London,  Vienna  and  Brussels 
Legion  of  Honor,  1861 ;  Officer,  1867 
Knight  of  the  Order  of  Leopold,  1881 
Ribbon  of  St.  Stanislaus  of  Russia 
Corresponding  member  of  the  Academies  of  Vienna,  Stockholm,  Madrid 
Member  of  the  Institute  of  France,  1886 

Strong  drawing  and  technique,  fine  color  and 
composition,  directed  by  a  man  of  thought  and  of 
most  tenderly  sympathetic  and  poetic  feeling.  In 
1878,  Victor  Hugo  wrote  Breton,  who  was  littera- 
teur as  well  as  artist:  'To  be  twice  a  poet;  to  be  like 
Lamartine  and  also  like  Corot;  to  be  by  the  strophe 
and  by  the  palette;  this  is  given  to  you,  Monsieur. 
I  thank  you  for  your  charming  book,  and  I  send  you 
double  plaudits/'  Five  years  later,  atter  Breton's 
Jeanne  was  published,  Gambetta  writes  him:  "I 
have  read  your  works,  I  have  seen  them,  and  I  can- 
not tell  even  to  you  if  it  is  the  poet  or  the  painter 
that  most  deeply  touched,  affected,  conquered  and 
fascinated  me/' 

39.  Burning  Tares  in  a  Wheatfleld 

53  X  38 

40.  Tired  Out 

12V2  X  16 

BBION  (Gustave)  Paris 

Born,  Rothau,  Alsace,  1824.    Died,  Paris,  1877 
Pupil  of  Guerin 
Medals,  1853-59-61-63-67.    Grand  Medal  of  Honor,  1868 
Legion  of  Honor,  1863 
Chevalier  of  the  Order  of  Leopold 

Jules  Breton  writes:  ''Gustave  Brion  was  a  man 
of  average  but  admirably  balanced  endowments.  He 
designed  with  ease,  and  was  well  acquainted  with 
the  technique  of  his  art." 

41.  Reading  the  Bible  in  the  Family 

47  X  43.   Dated  1870 

BRONZING  (Agnolo  di  Cosimo  Allori)  IL.  Italy 

Born,  Monticelli,  near  Florence,  1502  or  1503.    Died,  Florence,  1572 
Pupil  of  Raffaelino  del  Garbo  and  Jacopo  da  Pontormo 
Florentine  School 

An  ardent  admirer  of  Michael  Angelo,  Bronzino 
bad  much  of  the  same  dignity  and  breadth  of  view. 


Catalogue  Number  39. 


01  i^dmu^A  ^u-golslsD 


PRINCESS  OF  THE  HOUSE  OF  SCMRRA 


Although  he  painted  in  both  fresco  and  oil,  yet  he 
attained  his  highest  development  in  the  field  of  por- 
traiture. He  painted  many  of  the  distinguished  per- 
sonages of  his  time,  among  whom  were  members 
of  the  Medici  family^  Dante,  Boccaccio  and  Pe- 
trarch. These  additions  tO'  the  Wilstach  collection 
are  good  examples  of  the  large  comprehension  of 
nature  characteristic  of  this  great  painter. 

42.  Piero  Vettori,  Senator 

3378  X  42% 

43.  Princess  of  the  House  of  Sciarra 

34  X  z^Vz 

BRUEGHEL  (Pieter,  the  elder)  Flanders 

Born,    Brueghel,   about    1525-30.     Died,    Brussels,   about  1570 
Pupil  of  Pieter  Koeck  van  Aalst  and  Hieronymus  Cock 
Influenced  by  Hieronymua  Bosch 
Master  of  the  Guild  in  Antwerp,  ISS' 

Sir  Joshua  Reynolds  believed  that  this  painter 
knew  little  of  the  mechanical  art  of  picture  mak- 
ing, but,  in  speaking  of  a  religious  picture  by 
Brueghel,  he  commented  on  the  deep  thinking  and 
on  the  variety  of  distress  portrayed.  Brueghel  ex- 
celled in  the  landscape  backgrounds  he  gave  to  his 
figure  subjects.  He  retained  the  Flemish  method 
of  rendering  them  at  a  time  when  the  contem- 
porary Flemish  artists  were  generally  imitating  the 
Italian  painters  of  the  Renaissance. 

44.  Crucifixion  Scene 

47%  X  25y2 

BXJLAND  (Jean  Eugene)  Paris 

Born,  Paris.  Contemporary. 
Pupil  of  Cabanel  and  Yvon 
Medal,   1885-87-89,   1900  E.  U. 
Legion  of  Honor,  1894.    Hors  Concours 
Membre  de  la  Societe  des  Artistes  frangais 

'The  Audience  Day"  was  one  of  the  pictures  of 
interest  at  the  Paris  Salon  of  1895.  The  subject  is 
rendered  in  a  style  which  is  clear  and  firm,  the  va- 
riaus  characters  being  interpreted  with  individual 
truth  of  expression  and  accuracy  of  drawing. 

45.  The  Audience  Day 

47  X  37%.     Dated  1895 

CABANEL  (Alexandre)  Paris 

Born,  Montpclier,  1823.   Died,  1888 
Pupil  of  Picot 
Prix  de  Rome,  1845.    Medals,  1852-55-65-67-78  E.  U. 
Legion  of  Honor,  1855;  Ofiicer,  1864;  Commander,  1884 
Member  of  the  Institute  of  France,  1863 

A  strong  draughtsman  and  a  manner,  if  somewhat 
conventional,  exceedingly  refined  and  distinguished. 


V 


Painted  previous  to  1861  in  the  style  of  David,  but 
later,  feeling  more  the  influence  of  the  modern 
world,  produced  his  greatest  works.  During  the 
Third  limpire  Cabanel  painted  many  portraits,  his 
manner  lending  itself  particularly  to  the  painting 
of  aristocratic  and  graceful  court  ladies. 

46.  Contemplation 

44  X  36 

CACHOUD  (Francois  Charles)  Paris 
» 

Born,  Chambery.  Contemporary 
Pupil  of  E.  Delaunay  and  M.  G.  Moreau 

Honorable  mention,  1893.     Medal,  1896,   1900,  E.  U.,  1902 
Prix  de  Raigecourt-Goyon,  1900.     Hors  Concours 
Membre  de  la  Societe  des  Artistes  frangais 

A  serene  harmony  of  color  conveys  to  us  the  rest- 
ful beauty  of  this  ''Hour  of  the  Cricket."  The  poetic 
sentiment  of  twilight  has  been  here  delicately  ex- 
pressed. As  Guy  de  Maupassant  has  said:  ''Yes,  it 
is  beautiful  because  it  is  beautiful." 

47.  The  Hour  of  the  Cricket 

79V4.  X  551/4 

CAILLE  (Leon) 

48.  The  Dead  Bird 

6x9.    Dated  1863 
CANALETTO  (Antonio  Canale),  IL  Venice 

Born,  Venice,  1697.     Died,  Venice,  1768 
Pupil  of  his  father,  Rinaldo  Canale 
Venetian  School 

During  his  early  manhood  Canaletto  acquired 
dexterity  of  handling  and  knowledge  of  decorative 
arrangement,  while  following  the  occupation  of  his 
father — a  painter  of  theatrical  scenery.  In  1719, 
however,  he  visited  Rome,  where,  while  painting  her 
ancient  ruins,  he  was  enabled  to  study  more  deeply 
and  truly  the  problems  of  color,  effects  of  light  and 
shade,  and  perspective.  On  his  return  to  Venice, 
with  added  sympathy  as  well  as  accurate  observa- 
tion, he  devoted  himself  to  reproductions  of  the 
bridges,  buildings,  public  places  and  canals  of  his 
native  city,  in  their  effective  and  picturesque  sur- 
roundings. Charles  Blanc  says  that  Canaletto  is 
'^unexcelled  in  painting  architecture,  in  aerial  per- 
spective and  in  rendering  slightly  ruffled  water." 

49.  A  Bridge  Scene 

50  X  34% 

CAKO  (Alonzo)  Spain 

Born,  Granada,  1601.    Died,  Granada,  1667 
Studied  painting  with  Pacheco  and  sculpture  with  Montanes 
Painter  to  the  King,  1637 
Appointed  Canon  in  the  Cathedral  at  Granada,  1652 


4^  iddmiiM  duioUisD 


Paris 


est- 
>etic 


CANAI.ETTO  (Antonio  Canale),  li 
A  BRIDGE  SCENE 


Venice 


native  city, 
rounding- 


i  Canaletto  acquired 
owledge  of  decorative 
the  occupation  of  his 
al  scenery.     In  17 19, 
ere,  while  painting  her 
ly  more  deeply 
•     ^  ^^ght  and 
Venice, 
db  accurate  observa- 
reproductions  of  the 
places  and  canals  of  his 
tive  and  picturesque  sur- 
c  says  that  Canaletto  is 
xhitecture,  in  aerial  per- 
ruffled  water/' 


Spain 

rjtanes 


Catalogue  Number  49^ 


Distinguished  in  the  sister  arts  of  painting,  sculp- 
ture and  architecture,  Cano  won  the  title  of  the 
Spanish  Michelangelo.  Even  before  his  twentieth 
year  he  had  executed  many  works  for  the  city  of  Se- 
ville which  were  greatly  admired,  refusing  all  re- 
muneration for  these,  however,  on  the  ground  that 
he  wrought  for  practice  and  improvement  alone, 
and  not  for  money.  In  consequence  of  a  duel  with 
a  fellow  painter,  Cano  was  obliged  to  leave  Seville 
for  Madrid.  Here  through  the  favor  of  Velasques 
he  obtained  protection  and  advancement.  With  the 
exception  of  this  master  it  was  Fuseli's  opinion  that 
Cano  excelled  in  painting  all  his  contemporaries. 
His  pictures  are  statuesque,  of  classical  simplicity 
and  suavity,  and  full  oi  fine  decisive  drawing.  In 
Dominican''  the  character  is  given  with  splen- 
did analysis  and  interpretation.  A  study  of  the  can- 
vas reveals  to  us  even  after  the  lapse  of  centuries, 
just  what  manner  of  man  the  subject  was. 

50.  A  Dominican 

29Vs  X  38ya 

CAPELLE  (Jan  Van  der)  Amsterdam 

Born,  Amsterdam. 
Pupil  of  Alfred  Cuyp. 
Freedom  of  the  city,  1653 

Ships  and  shipping,  either  in  harbors  or  on  quiet 
seas  against  warm  bright  skies,  are  the  subjects 
frequently  chosen  by  Capelle.  Again  he  represents 
winter  scenes  with  frozen  waters,  such  as  the  pic- 
ture here  exhibited.  Other  paintings  by  Capelle 
are  to  be  found  in  private  collections  in  Europe 
and  America,  as  well  as  in  the  museums  of  Amster- 
dam, Rotterdam,  Brussels,  Berlin  and  London. 

51.  A  Erozen  River 

52  X  44 

CARAVAGGIO  (Michelangelo  Da)  Italy 

Born,  Caravaggio,  1569.    Died,  Porto  Ercole.  1609 
Studied  in  Milan,  Venice,  Rome 
Roman  School 

The  Naturalists,  with  Caravaggio  at  their  head, 
were  opposed  to  idealism  in  art  or  to  even  those  prin- 
ciples that  were  founded  on  selection  from  nature. 
Their  aim  was  to  imitate  without  modification.  The 
saints  and  apostles  in  the  religious  pictures  painted 
by  Caravaggio  frequently  represented  mere  Neapoli- 
tan models,  porters  or  bandits.  In  extraordinary 
effects  of  light  and  shadow,  however,  even  Rubens 
acknowledged  Caravaggio's  mastery  to  be  superior 
to  his  own.    His  pictures,  if  somewhat  morose  and 


brutal,  are  painted  with  an  impetuous  action  and 
furious  energy  thoroughly  characteristic  of  that 
fierceness  of  temper  which  led  Caravaggio  to  kill  a 
companion  in  a  dispute  while  playing  tennis.  He 
fled  to  Naples  and  later  to  Malta.  Here,  again  at- 
tempting to  avenge  a  quarrel,  he  was  cast  into 
prison.  In  the  pursuit  which  followed  his  escape, 
he  was  severely  wounded.  A  pardon  was  obtained 
but  through  a  mistake  Caravaggio  was  again  arrested 
and  later  released  only  to  wander  despondingly  along 
the  coast,  till  suffering  from  wounds,  hardships,  and 
from  the  excessive  heat,  he  died  from  fever  on  the 
beach  at  Porte  Ercole. 

52.  A  Musician 

35%  X  44% 

53.  A  Glutton 

35%  X  45 

OABKACCI  (Annibale)  Italy 

Born,  Bologna,  1560.    Died,  Rome,  1609 
Pupil  of  Lodovico  Carracci 
Bolognese  School 

Contemporary  with  the  school  of  the  Naturalists 
was  that  of  the  Eclectics,  led  by  the  five  Carracci.  Of 
these  Annibale  was  the  most  distinguished  and  diver- 
sified. In  1600  he  accepted  the  invitation  of  Cardinal 
Odoardo  Famese  to  visit  Rome,  there  to  decorate  a 
vaulted  ceiling  of  the  Farnese  Palace.  This  deco- 
ration, representing  various  mythological  subjects 
illustrative  of  celestial  and  terrestrial  love,  was 
much  admired^  Poussin  preferring  it,  after  the  work 
of  Raphael,  to  all  the  art  in  Rome.  Impressed  by 
the  coloring,  Caravaggio  exclaimed,  "God  be 
praised!  at  last  I  have  found  one  painter  in  my  life- 
time.'' 

54.  The  Dead  Christ 

59%  X  59% 

SABBACCI  (Lodovico)  Italy 

Born,  Bologna,  1555.    Died,  Bologna,  1617. 
Pupil  of  Prospero  Fontano,  Tintoretto  and  Pasignano 
Bolognese  School 

Lodovico  Carracci  was  the  founder  of  the  celebrated 
Acad,emy  of  the  Incamminati  (Right  Road),  con- 
ducted by  the  Carracci.  Based  on  the  art  of  their 
great  predecessors,  these  men  taught  a  union  of  Ren- 
aissance excellences.  Their  well  known  sonnet  de- 
manded the  "Venetian  action  and  management  of 
shade,  the  dignified  color  of  Lombardy,  the  terrible 
manner  of  Michelangelo,  Titian's  truth  and  nature, 
the  sovereign  purity  of  Correggio's  style,  and  the  just 


symmetry  of  a  Raphael,  etc.''  From  this  school  came 
the  Eclectics  of  Bologna,  whose  technical  skill 
strongly  influenced  all  the  schools  of  Italy.  Al- 
though Lodovico  Carracci  excelled  as  a  teacher 
rather  than  as  a  painter,  he  left  work  of  much  in- 
telligence both  in  fresco  and  in  oil.  Sir  Joshua 
Reynolds  comments  on  *'his  breadth  of  light  and 
shadow,  the  simplicity  of  his  coloring,  and  the 
solemn  effect  of  that  twilight  w^hich  seems  diffused 
over  his  pictures." 

55.  St.  Sebastian 

29*A  X  39 

CASSATT  (Mary)  Paris 

Born,  Pittsburg.  Contemporary 
Studied  in  Philadelphia  and  in  Paris  under  Degas 

It  was  as  early  as  1878,  at  the  first  exhibition  of 
the  impressionists  in  Paris,  that  Miss  Cassatt  be- 
came an  important  contributor.  The  directness 
and  vigor  of  presentation,  combined  with  the  strong 
individuality  of  the  artist,  made  a  marked  impres- 
sion. Her  early  pictures  show  a  careful  Academic 
rendering,  the  later,  a  species  of  compromise  be- 
tween the  direct  inspiration  of  nature  and  the  Jap- 
anese methods  of  expression.  An  art  so  intellectual 
and  well  considered  as  hers,  is  able  to  present  the 
most  popular  of  themes  in  a  large  and  comprehen- 
sive wa}^  avoiding  the  conventional  and  common- 
place. Miss  Cassatt  is  able  to  express  the  spirit 
as  well  as  the  letter  of  her  subject.  Hegel's  theory 
that  the  beautiful  is  the  presence  of  the  idea  in  lim- 
ited phenomenon  has  been  demonstrated  by  her; 
there  is  always  a  sentiment,  a  spirituality  that  digni- 
fies and  elevates  her  art. 

56.  On  the  Balcony 

33  X  4oV^ 

CASTAN  (Edmund)  Paris 

57.  The  Youthful  Navigator 

6x8.    Dated  1861 

CHASE  (William  Merritt)  •  New  York 

Born,  Indiana,  1849 
Studied  in  Indianapolis,  New  York  and  Munich 
Honorable  Mention,  1882.    Medals,  1889,  1900,  E.  U. 
Shaw  Prize,  S.    A.  A.,  1895. 
Gold  Medal  of  Honor,  P.  A.   F.  A.,  1895. 
Member  of  the  National  Academy  and  Society  of  American  Artists 

Probably  the  most  distinctive  personality  among 
our  resident  American  painters.    In  our  contempo- 
•  rary  art  no  one  has  more  vividly  realized  **to-day'' 
for  us  or  placed  his  impressions  more  truthfully. 


yet  artistically,  on  canvas.  Of  much  versatility,  he 
has  employed  almost  every  medium  to  present  by 
portraiture,  genre,  still-life  and  landscape,  the  reali- 
ties about  him.  His  work  is  distinguished  by  vi- 
tality, flexibility  of  execution,  and  a  mind  and  in- 
stinct both  artistic  and  cosmopolitan. 

58.  Still  Life 

36  X  281/2 

CIGNANI  (Carlo)  Count  Italy 

Born,  Bologna,  1628.    Died,  Forli,  1719 
Pupil  of  Albani.    Influenced  by  Correggio  and  Annibale  Carracci 
Made  a  Count  by  the  Duke  of  Parma 
Founded  the  Clementine  Academy  at  Bologna 
Bolognese  School 

**One  of  the  four  leading  artists  of  his  age  was  the 
Cav.  Carlo  Cignani,  a  genius  more  profound  than 
prompt ;  a  hand  eager  to  engage  in  labors,  but  ever 
dissatisfied  in  their  completion,"  records  Lanzi.  His 
most  important  v^ork,  the  "Assumption  of  the  Vir- 
gin,'' in  the  Cathedral  of  Forli,  occupied  him  nearly 
twenty  years.  So  highly  was  he  esteemed  by  the  stu- 
dents of  his  Academy  at  Bologna  that  they  followed 
him  to  Forli,  where  the  school  was  continued  until  the 
master's  death.  The  Cardinal  San  Caesareo,  when 
purchasing  a  picture  of  Cignani,  was  so  convinced  of 
its  financial  value,  that  he  courteously  said  '*that  he 
only  paid  for  the  canvas  and  accepted  the  painting  as 
a  present."  Pictures  by  Cignani  are  distinguished  by 
fine  composition,  mellowness  of  color  and  by  figures 
of  remarkable  grace. 

59.  Signing  His  Death  Sentence 

75  X  115V2 

CLAASZ  (Pieter)  Haarlem 

Born,  Westphalia,  about  1595.    Died,  Haarlem,  1661 

'There  is  no  fashion  in  the  art  of  expressing 
nature  as  it  is/'  writes  Jules  Claretie.  Equally  we 
may  claim  that  the  value  of  good  work  is  for  all 
time  and  all  people.  These  old  Dutch  pictures  are 
of  as  much  value  to  the  student  or  connoisseur  to- 
day as  when  they*  were  first  painted. 

60.  Stin-Life 

21V4  X  15. 

CLAUSEN  (George)  England 

Born,  England.  Contemporary 
Medals,  1889-/900,  E.  U.      Hors  Concours 
Associate  of  the  Royal  Academy  of  Arts 
Professor,  London  Royal  Academy  of  Arts 

A  simple  episode,  but  told  in  a  manner  precise, 
clean,  firm  and  simple.   The  scene  evidently  painted 


.  .  iiuich  versatility,  he 

has  employed  medium  to  present  by 

'A-hit  and  landscape,  the  reali- 
3  work  is  distinguished  !)y  vi- 
f  execution,  and  a  mind  and  in- 
>smopolitan. 

36  X  2SV2 

CIOA  ANi  < Carlo)  Count  Italy 

Born,  Bolosjna,  1628.    Died,  Forlt,    .  . 
Hrti.    Influenced  by  Correggio  and  Annibale  Ca  ^:  . 
3  Count  by  the  Duke  of  ParT> 
Clementine  Academy  at 
Bolognesc  School 

''One  of  the  four  leading  artists  of  his  age  was  the 

■  li,  a  genius  more  profound  thajn 
vciger  to  engage  in  labors,  but  ever 

ed  in  their  completion/'  records  Lanzi.  His 
most  ill  :  vtprk,  the  of  the  Vir- 

gin/* in     ^  V   ihedral  of  For  ,      .  ^    /  him  ne^^'v 
twenty  years.   So  highly  was  he  esteemed  by  th« 
dents  of  his  Academy  at  Bologna  that  they  followed 

■  •  V  ^       ri-  ^vl  .     ih.^    1  ^r  1  ^vas  continued  until  the 

1  San  C^esareo,  when 

CODDK  (PlETER)  -d  of 

A  PRINCESS  PALATINE  -^^t  he 

nting  as 
shed  by 
^eures 


CLAASZ  (Pieter)  Haarlem 

Born.  Westphalia,  about  159$.    Died,  Haarlem,  1661 

"There  is  no  fashion  in  the  art  of  expressing 

--^--^  -     .N..:  T--^  ...  T^^^.^allv  w^ 

foV  all 
nctures  are 
'^seur  to- 


En  gland 

Contemporary 
i  ,        ,    U.      Hors  Concotn  - 

Associate  of  the  Royal  Academy  of  Art , 
Professor,  London  Royal  Academy  of  Arts 

<:imp]e  episode,  but  told  in  a  mafmer  urecise, 

V     .       '  .  1      .1     ^atologue  Number  6. 

Simple,    i  he  scene  evidently  painted 


direct  from  life,  has  a  well  balanced  unity  and  is  a 
truthful  record^  wholesome  and  agreeable. 

61.  Planting  a  Tree 

2574  X  soVs 

CLAYS  (Paul  Jean)  Brussels 

Born,  Bruges,  1819 
Pupil  of  Gaudin 
Medals,  Brussels,  1851.    Paris,  1867-78  E.  U. 
Legion  of  Honor,  1875;  Officer,  1881 
Chevalier  of  the  Order  of  Leopold 

'Tor  a  long  time  the  sea,  or  rather  the  w^ater,  has 
had  no  interpreter  more  exact  than  Clays;  he  knows 
its  clearness,  and  he  knows  how  to  render  the  little 
noisy  waves  all  bathed  in  light/' — Rene  Menard. 

62.  Marine  View 

42V2  X  29.    Dated  1870 

63.  Marine  View 

16  X  II 

CODDE  (Pieter)  Amsterdam 
Born,  Amsterdam,  before  1610.    Died,  about  1660 
Studied  at  Haarlem.    Influenced  by  Frans  and  Dirck  Hals 

A  strong  and  scholarly  piece  of  work^  rendered 
with  a  realism  impressive  in  its  breadth  of  accom- 
plishment, sober,  dignified  color,  truth  of  form  and 
solidity  of  structure.  This  assured  mastery  of  tech- 
nical difficulties  so  universally  possessed  by  these 
old  Dutch  masters  elicited  from  the  great  English 
painter,  Sir  Joshua  Reynolds,  the  opinion  that 
^'painters  should  go  to  the  Dutch  School  to  learn 
the  art  of  painting,  as  they  would  go  to  a  Grammar 
School  to  learn  languages."  Fine  examples  of  the 
representations  of  social  reunions  and  military 
scenes,  for  which  this  master  is  famous,  are  to  be 
found  in  the  galleries  of  Berlin,  Vienna  and  The 
Hague. 

64.  A  Princess  Palatine 

46y4  X  iZVz 

CONINCXLO  (Coninxlor,  Conincxly)  (GiHis  Van)  Antwerp 

Born,  Antwerp,  1544.    Died,  Amsterdam,  after  1604 
Pupil  of  Pieter  Coecke,  the  younger,  Leenaert  Kroes  and  Mostaert 
Received  into  the  Guild,  1570 

For  several  years  this  painter  followed  his  voca- 
tion in  France  and  Italy.  On  his  return  to  Flanders, 
his  landscapes  were  so  greatly  admired  that  picture 
dealers  eagerly  purchased  them  for  export  to  different 
parts  of  Europe.  The  Emperor  of  Austria  procured 
a  number  for  his  famous  collection.  Brion  states 
that  Coninexlo  was  the  ^'ablest  artist  in  the  branch 
that  he  followed  of  the  time  in  which  he  lived.  His 


touch  is  spirited  and  light  and  his  color  clear  and 
agreeable." 

65.  Landscape 

54%  X  30 

CONSTABLE  (John)  England 

Born,  East  Bcrgholt,  Suffolk,  1776.    Died,  London,  1837 
Pupil  of  the  Royal  Academy,  Joseph  Farrington  and  R.  R.  Reinagle 
Royal  Academician,  1829 

"Tone  is  the  most  seductive  and  inviting  quality 
a  picture  can  possess,"  said  the  greatest  English 
landscape  painter,  Constable.  In  the  scenes  of  Eng- 
lish rural  life,  w^hich  he  immortalized,  this  quality 
has  been  manifested  to  an  eminent  degree.  During 
early  life  he  was  employed  in  a  wind-mill,  and,  in 
consequence  of  the  close  observation  of  the  varia- 
tions of  nature,  he  developed  the  wonderful  knowl- 
edge of  cloud  effects  for  which  he  is  distinguished. 
The  influence  of  Constable  on  English  and  French 
art  was  of  marked  significance.  It  was  the  study 
of  the  works  of  Constable,  Bonington,  and  the  old 
Dutch  landscape  painters,  that  developed  the  fa- 
mous Fontainebleau-Barbizon  school. 

66.  Old  Brighton  Pier 

67.  The  Pond,  Hampstead  Heath,  near  London 

601/2  X  41^4 

COROT  (Jean  Baptiste  CamiUe)  Paris 

Born,  Paris,  1796.   Died,  Paris,  1875 
Pupil  of  Michallcn  and  Victor  Berlin 

Medals,  1833-48-55-67,  E.  U. 
Legion  of  Honor,  1846;  Officer,  1867 
Diploma  to  the  memory  of  deceased  artists,  E.  U.,  1878 

A  life  of  great  usefulness  and  nobility.  Useful,  in 
that  he  filled  so  prominent  a  place  in  the  great 
modern  impulse  of  art  and  perpetuated  that  which 
he  found,  the  spirit^  the  depths  of  atmosphere,  the 
light,  the  movement,  the  exquisite  feeling  of  pulsat- 
ing nature,  more  particularly  when  the  dawning  or 
the  fading  of  the  day  softens  sharp  detail  into 
tender  harmony.  "This  poetical  perfume  is  a  per- 
sonality and  supersedes  the  necessity  of  signature," 
writes  Rene  Menard.  Noble,  in  that  "Pere 
Corot"  gave  the  benefit  both  of  his  experience  and 
his  large  income  to  those  about  him,  especially  to 
his  struggling  contemporaries. 

68.  Landscape 

19  X  12 

69.  Architectural  Study 

m  X  121/4 


Constable  (John) 
OLD  BRIGHTON  PIER 


Catalogue  Number  66. 


COKBADI  (Giacinto)  Italy 

Born,  Molfetta,  1705.    Died,  Naples,  1768 
Influenced  by  Sebastian  Conca. 
Director  of  the  Academy  of  S.  Fernando.    Painter  to  the  King. 
Neapolitan  School 

With  an  authority  of  design,  with  drawing,  ad- 
mirable and  unconstrained,  with  color  soft  and  bril- 
liant, with  a  rapid,  flowing  and  certain  brush,  has 
Giacinto  Corradi  given  a  noble  and  beautiful  inter- 
pretation of  his  subject.  *'Art  is  surely  but  a  series 
of  conventions,  which  enable  us  to  express  our  special 
sense  of  beauty — for  beauty  is  everywhere  and 
abounds  in  subtle  manifestations,'*  writes  George 
Moore. 

70.  St.  Joseph  and  Infant 

37%  X  45% 

COSTA  (Lorenzo)  Italy 

Born,  Fcrrara,  1460.    Died,  Mantua,  1535 
Studied  the  works  of  Lippi  and  Benozzo  Gozzoli 
Bolognese  School 

'*Costa  was  not  unHkely  the  real  founder,  or,  at 
least,  the  strongest  influencer  of  the  Bolognese 
school,''  writes  John  C.  Van  Dyke.  *'He  was  a 
painter  of  a  rugged,  manly  type,  afterward  tempered 
by  Southern  influences  to  softness  and  sentiment. 
This  was  the  result  of  Paduan  methods  meeting  at 
Bolog-na  with  Umbrian  sentiment."  The  type  of  the 
"Madonna  of  the  Throne"  is  one  of  singular  tender- 
ness, purity  and  earnestness  of  feeling.  In  the  pic- 
ture entire,  the  color,  decoration  and  the  sincere 
gravity  of  the  painter,  amply  compensate  for  some 
characteristic  peculiarities. 

71.  Madonna  of  the  Throne 

59%  X  72y4 

COTTET  (Charles)  Paris 

Born,  Puy,  Haute-Loire.  Contemporary 
Bourse  de  voyage,  1894 
Gold   Medal,   1900,   E.   U.  Legion  of  Honor,  1900. 
Societaire  de  la  Societe  Nationale  des  Beaux- Arts 

This  study  of  the  night  illumined  by  the  unseen 
moon  is  the  outcome  of  patient  contemplation  of 
"living''  nature.  In  the  soft,  intangible  shadow  of 
the  night  the  reality  of  the  men  is  well  developed. 
The  silvery  light  of  the  moon,  shining  on  the  houses 
and  water,  is  rendered  with  marked  fidelity  to  nature. 


72.   Marine  View 

31*4  X  211/2 


COUKBET  (Gustave)  Paris 

Born,  Ornans,  1819.    Died,  Switzerland,  1878 
Pupil  of  David  d' Angers 
Medals,  1849-57-61 
He  refused  the  Cross  of  the  Legion  of  Honor  after  accepting  that 
of  the  Order  of  St.  Michael  from  the  King  of  Bavaria 

Originally  destined  for  the  law,  Courbet  was  sent 
to  Paris  in  1839  for  his  legal  training.  Art  and 
its  problems,  however,  so  absorbed  his  attention  that 
the  study  of  law  was  dropped^  and  in  1844  he  ex- 
hibited his  first  picture,  which  showed  the  marked 
originality  and  bold  personality  of  the  artist.  Of  a 
dogmatic  and  aggressive  disposition^  he  was  soon 
engaged  in  a  bitter  warfare  against  all  convention- 
ality, scorning  alike  the  then  accepted  schools  of 
Classicism  and  Romanticism^  and  claiming  that 
Nature,  studied  from  the  standpoint  of  observation 
and  discernment  rather  than  that  of  intellectuality 
or  sentiment,  should  be  the  only  foundation  of  Art. 
From  this  standpoint  the  modern  school  of  Realism 
sprang  into  life.  Although  personally  much  disliked 
by  his  countrymen,  high  tribute  has  been  paid  to  his 
work  and  influence  in  art.  Jules  Breton  speaks  of  ^'his 
power  being  truly  Shakesperian."  Of  the  "Interment 
at  Ornans,*'  Bastien-Lepagp  says:  "There  you  have 
absolute  truth,  the  truth  of  grief,  a  truth  which  we  all 
of  us  feel.  There  is  nothing  really  lasting,  nothing 
that  will  endure,  but  the  sincere  expression  of  the 
actual  conditions  of  life." 

73.  View  in  Ornans 

21%  X  18 

74.  The  Waves 

58H  X  29 

CKAYEIl  (Gaspar  de)  Antwerp 

Born,  Antwerp,  1582.    Died,  Ghent,  1669 
Pupil  of  Raphael  van  Coxcyen 
Court  painter 

Modern  critics  hold  that  the  reputation  of  Crayer 
has  been  overshadowed  by  the  fame  of  his  two  great 
contemporaries  and  intimate  friends,  Rubens  and 
Van  Dyck.  He  was  one  of  the  most  conscientious 
and  productive  painters  of  the  Flemish  school. 
Many  valued  examples  of  his  work  are  to  be  found 
in  the  museums  and  churches  of  Flanders  and  Bra- 
bant. When  criticising  his  picture  of  the  Centurion 
dismounting  to  pay  homage  to  the  Christ,  Rubens 
is  said  to  have  exclaimed:  ''Crayer,  nobody  will  sur- 
pass you!'' 

75.  Interview  between  Totila,  King  of  the  Goths,  and  St.  Benoit 

213V2  X  iiiVs 


.  i^.u  \  Paris 
Born,  Ornar 

Pupi)  ^.i  ;./^.>a  \.isc;.. 
Medals,  1S49-57-61 
He  refused  the  Cross  of  the  Legion  of  Honor  after  accepting  that 
of  the  Order  of  St.  Michael  from  the  King  of  Bavaria 

Originally  destined  for  the  law,  Courbet  was  sent 
to  Paris  in  1839  for  his  legal  training.    Art  and 
:  ro  kijis      a  cvrr.  so  absorbed  his  attention  that 

\  and  in  1844  he  ex- 
:  .   :  showed  the  marked 
'  personality  of  the  artist.    Of  a 
osition^  he  was  soon 
against  all  convention- 
'  the  then  accepted  schools  of 
i    ^^iCism  <yja  i\=omanticisni^  and  claiming  that 
Nature,  studied  from  the  standpoint  of  observation 
and  discernment  rather  than  that  of  intellectuality 
or  sentiment,  should  be  the  only  foundation  of  Art. 
■  -      ■  ■  '         ^         ^h'^  rnodern  school  of  Realism 

wrsonallv  much  di-Iikied 
\  to  his 
)t  ''his 
ennent 

COURBEI,  (GUSTAV£J  ^^^^  I^^^^ 

•       VIEW  IN  ORNANS    ^  which  we  all 

eally  lasting,  nothing 
r  the  smc^e  expression  of  the 


21%  X  18 

OHAYEB  (Gaspar  de  Antwerp 

'Born,  /i.-.^-  -  ■  ^.^  Ghent,  i 

.  Pupil  of  Raphael  van  Coxcyen 
Court  painter 

Modern  critics  hold  that  the  reputation  of  Crayer 
wershadowed  by  the  fame  of  his  two  great 
'  intimate  friends,  Rubens  and 
>  one  of  the  most  conscientious 
nters  of  the  Flemish  school, 
of  his  work  are  to  be  found 
irches  of  Flanders  and  Bra- 
bant, his  picture  of  the  Centurion 
dismoh                       ii^ge  to  the  Christ,  Rubens 
is  said  to                     \:  ''Crayer,  nobody  will  sur- 
pass } 

King  of  the  Gotlis,  ^ll* 


CRIVELLI  (Vittorio)  Italy 

Flourished  art  the  end  of  the  Fifteenth  Century 
Venetian  School 

An  altar  piece  executed  in  1489  by  this  kinsman 
and  follower  of  the  great  Carlo  Crivelli  is  to  be 
found  in  Monte  San  Martino^  Other  examples  of 
his  work  are  at  Bologna,  Palermo,  Milan  and  Lon- 
don. 

76.  St.  John 

18  X  S5V» 

77.  The  Adoration 

Center  Panel,  29%  x  55.    Side  Panels,  each,  15  x  49% 
CROME  (John)  (Old  Crome)  England 

Born,  Norwich,  1769.    Died,  Norwich,  1821. 
Founded  The  Norwich  Society  of  Artists,  1805;  President,  1810 

Though  not  without  mannerisms,  both  in  his 
drawing  and  his  use  of  pigment,  this  healthy  and 
admirable  master  painted  EngHsh  scenery  with  gen- 
uine power.  His  pictures  show  an  artistic  sensitive- 
ness to  the  charm  of  aerial  distance — to  the  height 
and  depth  of  space  that  is  very  impressive.  Dur- 
ing his  life  his  work  was  little  appreciated  by  the 
public.  Even  after  his  death,  his  masterpiece 
''Mousehold  Heath,"  now  in  the  National  Gallery 
at  London,  sold  for  only  one  pound.  George  Bor- 
row, however,  speaks  of  the  ''little  dark  man  with 
the  brown  coat  and  top-boots,  whose  name  will  one 
day  be  considered  the  chief  ornament  of  the  old 
town,  and  whose  works  will  at  no  distant  period 
rank  among  the  proudest  pictures  of  England.'' 

78.  Hay  Barges  on  the  Yare 

40  X  3oVs 

CB^OS  (Anthony  Jan  Van  Der)  Holland 
Bom,  1606  or  1607-    Died,  The  Hague,  1663 
Influenced  by  Jan  Van  Goyen 

The  landscape  painters  of  Holland  have  been 
credited  with  being  the  first  to  treat  their  subject 
with  realism.  Certainly  they  were  the  first  to  study 
it  for  its  own  sake  and  to  consider  it  worthy  of  use 
as  a  picture  motive.  The  execution  of  these  paint- 
ers was  sincere  and  appropriate  and  the  subjects 
they  chose  for  their  pictures  showed  their  love  for 
their  Fatherland.  ''It  is  wrong  for  a  painter  to 
abandon  the  country  in  which  he  was  born,  and  in 
which  he  passed  his  youth/'  writes  Alfred  Stevens. 
During  this  period  the  painters  of  Holland  repre- 
sented their  country  and  the  lives  of  its  people  with 
close  fidelity. 

79.  River  Scene 

22V2  X  22.    Dated  1648 


CBiOFSEY  (Jasper  Francis) 


Born,  New  York,  1823 
Pupil  of  Edward  Maury 
Medal,  Centennial  Exhibition,  1876 
National  Academician,  1851 
Honorary  Member  Pennsylvania  Academy  of  Fine  Arts 

80.  View  near  Rome 

40  X  27.    Dated  1847 

CUYP  (Aelbert)  Holland 
Born,  Dordrecht,  1620.   Died,  Dordrecht,  1691. 
Pupil  of  his  father,  Jacob  Gerritsz  Cuyp. 

A  versatile  painter  whose  methods  varied  during 
his  career.  He  modified  his  treatmpit  according  to 
the  subject  and  size  of  his  picture^  endowing  all  his 
work  with  originality  that  was  attained  without  pre- 
tension or  efifort.  By  his  fidelity  to  nature  he  es- 
caped all  mannerisms.  His  temperament  inclined 
him  to  an  expression  of  the  pastoral;  his  landscapes 
are  of  a  tranquil  loveliness,  reflecting  the  veiled  sun- 
light of  the  morning,  the  golden  glow  of  the  early 
evening.  In  the  treatment  of  light  and  atmospheric 
effects,  in  rendering  color  and  texture  Cuyp  was 
brilliant  and  refined; in  composition  he  was  a  master 
in  recording  natural  effects. 

81.  Cows  on  Bank  of  River 

66%  X  SI 

PARLEY  (Mrs.  Sully)  Philadelphia 

82.  Tuscan  Woman 

17  X  20 

DATTBIGNY  (Charles  Francois)  Paris 

Born,  Paris,  1817.    Died,  Paris,  1878 
Pupil  of  Paul  Delaroche 
Medals,  1848-53-55-57-59-69 
Legion  of  Honor,  1859;  Officer,  1874 
Diploma  to  the  memory  of  deceased  artists,  E.  U.,  1878 

One  of  the  celebrated  group  of  Barbizon  painters, 
Daubigny  has  made  world  famous  the  river  scenery 
of  central  France.  Light,  air,  and  color  were 
studied  from  the  floating  studio  he  had  constructed 
and  when  the  clear  day  was  slowly  fading  into  the 
night  his  mind  became  exceedingly  keen  and  appre- 
ciative. "The  art  of  this  illustrious  master,"  writes 
Edmond  About,  ^'consists  in  choosing  well  a  bit  of 
country,  and  painting  it  as  it  is,  enclosing  in  its 
frame  all  the  simple  and  naive  poetry  which  it  con- 
tains *  How  willingly  would  we  sojourn  in  that 
one,  beside  that  fresh  water,  where  the  cows  take 


^8  iddmuM  su^olAlfiD 


Borne 

1823 

Maury 
ibition,  1876 
an,  185 1 

Academy  of  Fine  Arts 


CITTP  (Aelbert)  ^^^^^^ 
Born,  Dordrecht,  1620.  Died,  Dordrecht,  1691. 
Pupil  of  his  father,  Jacob  Gerritsi  Cuyp. 

A  versatile  painter  whose  methods  varied  during 
his  career.  He  modified  his  treatment  according-  to 
the  subject  and  size  of  his  picture,  endowing  all  his 
work  with  originality  that  was  attained  without  pre- 
tension or  effort.  By  his  fidelity  to  nature  he  es- 
caped all  mannerisms.  His  temperament  inclined 
him  to  an  expression  of  the  pastoral;  his  landscapes 
are  of  a  tranquil  loveliness,  reflecting  the  veiled  sun- 
light of  the  morning,  the  golden  glow  of  the  earlv 
evening.  In  the  treatment  of  light  and  atmospheric 
effects,  in  rendering  color  and  texture  Cuyp  was 
bnlhant  ^^f^fi^^^^.^j^^-  fA^rnv^^        lie  vvas  a  master 

St    Cow«  on  Bank  of  Riv 


Philadelphia 


Charles  Franco!*)  Paria 
Bom,  Par  Paris,  1878 

Pupu  01  i'auij  Delaroche 
Medals,  1848-53-55-57-59-69 
Legion  of  Honor,  1859;  Officer,  1874 
Diploma  to  the  memory  of  deceased  artists,  E.  U.,  1878 

One  of  the  celebrated  group  of  Barbizon  painters, 
Daubigny  has  made  world  famous  the  river  scenery 
of  central  France.  Light,  air,  and  color  were 
studied  from  the  floating  studio  he  had  constructed 
and  when  the  clear  day  was  slowly  fading  into  the 
night  his  mind  became  exceedingly  keen  and  appre- 
ciative. 'The  art  of  this  illustrious  master,"  writes 
Ldmond  About,  "consists  in  choosing  well  a  bit  of 

'  •  '  nting  it  as  it  is,  enclosing  in  its 
T)le  nnrl  Tit>Tv^       f  ,  V  which  it  con- 

•  >Urn  &l*»ttfat  Number  83. 

:ows  take 


their  evening  bath!  Night  falls^  the  thrushes  send 
forth  their  last  cry,  the  nightingale  begins  to  sing." 

83.  Landscape 

30  X  18.   Dated  1868 

84.  Twilight 

27  X  16.   Dated  1865 

DATJCHEZ  (Andre)  Paris 

Born,  Paris.  Contemporary 
Medal,  1900,  E.  U. 
Societaire  Societe  Nationale  des  Beaux-Arts 

A  well  balanced  piece  of  work;  the  tone  in  deli- 
cate silver  green  being  well  sustained  throughout. 
It  displays  a  calm  and  serious  conviction  attained 
by  the  careful  observation  of  nature. 

85.  Under  .the  Oak  Tree 

635^  X  43.    Dated  1904. 
DAVID  (Gerard)  Bruges 

Born,  Oudewater,  about  1450.    Died,  Bruges,  1523 

Probably  a  pupil  of  Memling 
Freedom  of  the  Guild  in  Bruges,  1484;    Dean,  1501-2 
Member  of  the  Antwerp  Guild,  1515 

The  shadowy  interior  of  the  stable  is  illumined 
by  the  light  which  radiates  from  the  Holy  Child. 
The  Virgin  mother,  St.  Joseph,  and  angels  wrapt  in 
adoration,  are  about  the  manger.  In  tenderness 
and  frankness  of  attitude,  in  honesty,  sincerity  and 
purity,  this  example  of  early  Flemish  art  is  of  notable 
interest  and  charm^ 

86.  Aaoration  of  the  Angels 

27y2  X  48y2 

DE  CAMP  (Joseph  Rodefer)  Boston 

Born,  Cincinnati,  Ohio,  1858 
Pupil  of  the  Munich  Academy  and  of  Frank  Duvcneck 
Temple  Gold  Medal,  P.  A.  F.  A.,  1899 
Member  of  the  **Ten  American  Painters'* 

To-day  in  the  United  States  we  have  artists  who 
are  technically  as  strong  as  any  of  their  European 
contemporaries.  By  developing  power  in  their 
own  country,  they  have  especially  commanded  the 
interest  of  their  own  people.  Mr.  De  Camp  is  one 
of  these  and  his  fine  natural  gifts  gain  each  year  in 
cleverness  of  statement,  richness  of  color  and  in- 
terest of  subject. 

87.  The  New  Gown 

28%  X  ZSV2 

DECAMPS  (Alexandre  Gabriel)  Paris 

Born,  Paris,  1803.   Died,  i860. 
Pupil  of  Abel  de  Pujol,  David  and  Ingres 
Medals,  1831-34 
Legion  of  Honor,  1839;  Officer,  1851 

88.  Street  Scene 

6%  X  9 


DE  COCK  (Ceesar)  Paris 

Born,  Ghent,  Belgium,  1823 
Medals,  1867-69;  Havre,  1868;  Munich,  1869;  Amsterdam  and  Ghent,  1883 
Diploma  of  Honor,  Amiens,  1868;  London,  1872 
Officer,  Order  of  Leopold,  1883 

*  *'Caesar  de  Cock  has  a  sort  of  juvenile  passion  for 
the  apres  saveurs  and  the  exquisite  freshness  of  the 
springtime.  He  renders  with  extreme  skill  the  downy- 
softness  of  the  young  shoots,  the  undecided  form 
of  the  bush^es,  only  half  clothed  with  their  new 
leaves,  the  multitude  of  young  stalks  which  encum- 
bered the  coppices,  the  shadowed  parts  through 
which  one  can  sometimes  get  glimpses  of  light." — 
Ernest  Duvergier  de  Hatiranne. 

80.  Landscape 

29  X  17.    Dated  1870 

90.    The  Brook  Canal 

28  X  20.   Dated  1869 

DELACROIX  (Ferdinand  Victor  Eugene)  Paris 

Born,  Charenton,  1799.    Died,  Paris,  1863 
Pupil  of  P.  Guerin 
Medals,  1824-48.    Grand  Medal  of  Honor,  1855 
Legion  of  Honor,  1831;  Officer,  1846;  Commander,  1855 
Membre  of  the  Institute  of  France,  1857 

The  great  movement  of  Romanticism  that  swept 
over  England,  Germany  and  France  in  the  early 
part  ot  this  century^  influenced  both  letters  and  art 
and  brought  to  the  front  such  champions  as  Byron, 
Victor  Hugo,  and  the  intrepid  leader,  Delacroix. 
Discontented  with  the  exaggerations  of  a 
false  Classicism  and  the  superficial  elegance 
of  academic  formulsa  insisted  upon  during 
the  reign  of  the  classic  school,  Delacroix 
gave  us  pictures  of  spontaneous  and  intense 
sentiment,  of  dramatic  power  and  imagination,  of 
passionate  desire  to  express  the  inexpressible  by 
combination  of  color,  atmosphere  and  action.  *'The 
atmosphere,  tragic,  and  at  times  sublime,  that  sur- 
rounds them,  is  a  pure  creation  of  the  master," 
writes  Jules  Breton.  Delacroix  executed  many 
public  commissions  and  died  full  of  honors. 
Time  but  adds  to  his  accumulating  fame.  Theophile 
Gautier  writes  of  "L' Amende  Honorable'':  'The 
scene  passes  in  the  great  convent  reception  room  of 
the  monastery.  The  shade  envelops  the  high  arched 
vaulting.  The  wall  in  the  depth  is  pierced  with  long 
windows,  with  triple  mullions.  On  the  walls  of  the 
room,  vague  paintings,  outline  themselves  in  a  half 
tint,  obscure  phantoms  of  coloration.   On  the  left  of 


the  tableaux  is  a  dais,  under  the  throne  of  which  sits 
a  mitred  figure,  an  abbe  or  archbishop  in  sacerdotal 
habit,  surrounded  by  some  acolytes.  Before  the  abbe 
they  drag,  holding  him  under  his  arm,  the  con- 
demned to  make  'amende  honorable.'  " 

91.  L'Amende  Honorable 

62^2  X  50.   Dated  1831 

DELESSOBD 

92.  Evening — Sheep  Driven  Home 

14V2  X  111/2 

DEMONT  (Adrien  Louis)  Paris 

Born,  Douai,  France,  1851 
Pupil  of  Emile  Breton 
Medals,  1879-82-89  E.  U. 
Legion  of  Honor,  1891.    Hors  Concours 
Chevalier  de  1'  Ordre  de  Saint  Michel 
Officier  de  TOrdre  de  Santiago  de  Portugal 
Membre  de  la  Societe  des  Artistes  fran<;ais 

"For  don't  you  mark,  we're  made  so  that  we  love 
First  when  we  see  them  painted,  things  we  have 
passed 

Perhaps  a  hundred  times  nor  cared  to  see." 

— Browning. 

93.  The  Poppy  Field 

sgVs  X  34ys 

DE  NOTER  (David)  Antwerp 

94.  Fruit  and  Flowers 

12V4  X  9V4 

DIAZ  de  la  Fena  (Narciso  Virgilio)  Paris 
Born,  Bordeaux,  1808.    Died,  Mcntonc,  1876 
Medals,  1S44-46-48 
Legion  of  Honor,  1851 
Diploma  to  the  memory  of  deceased  artists,  E.  U.,  1878 

Born  of  Spanish  parentage,  this  landscape  and 
figure  painter,  though  a  faulty  draughtsman,  had  the 
glow,  splendor  and  the  fire  of  the  South.  At  the  age 
of  fifteen  years  he  left  the  manufacturer  of  porce- 
lain, to  whom  he  had  been  apprenticed,  to  go  to 
Paris,  where,  although  extremely  poor  and  crippled 
by  the  loss  of  a  leg,  he  entered  the  arena  of  life. 
Success  crowned  his  efforts  to  a  large  degree  and 
with  a  lavish  hand  he  dispensed  that  which  he 
gained  to  those  in  distress.  It  was  in  the  forest 
of  Fontainebleau  with  its  majestic  oaks,  deep  re- 
cesses, and  gleams  of  sunlight,  that  Diaz  found  his 
greatest  inspiration. 

95.  Forest  of  Fontainebleau 

42 X  32.   Dated  1867 

96.  Figure 

6V2  X  II 


DOLCI  (Carlo)  (Carlino)  Italy 
Born,  Florence,  1616.    Died.  Florence,  1686 
Studied  with  Jacopo  Vignali,  a  pupil  of  Matteo  Rosselli 
i  Florentine  School 

The  pictures  of  Carlo  Dolci  are  charged  with  an 
excess  of  sentiment  and  are  painted  in  a  style  that  is 
somewhat  self-conscious.  Yet  his  artistic  skill  is 
not  to  be  denied.  There  is  always  in  his  wo*k  deli- 
cacy, refinement  and  good  draughtsmanship  to  atone 
for  the  more  palpable  faults,  and  in  his  best  pictures 
there  is  real  feeling  and  grace.  Carlo  Dolci  was 
among  the  last  of  the  great  school  of  Florentine 
painters. 
07.   Youth  and  Love 

36y4  X  45V4 

DOMENICHlNO  (Domenico  Lampiere)  Italy 

Born,  Bologna,  1581.    Died,  Naples,  1641. 
Pupil  of  Denis  Calvaert  and  of  the  Carracci 
Appointed  by  Gregory  XV.  painter  and  architect  of  the  apostolic  chamber,  i6ao 

Bolognese  School 

Another  eminent  pupil  of  the  Carracci;  one  who 
has  been  rated  as  second  only  to  Raphael.  Poussin 
even  considered  the  St.  Jerome  painted  by  Domeni- 
chino  as  the  third  great  painting  of  the  world.  If 
we  now  consider  as  too  high  this  traditional  estimate, 
his  work  is  nevertheless  of  marked  power.  These 
figures,  repres^enting  "The  Seven  Virtues,"  are  well 
imagined  and  composed,  being  painted  with  much 
authority  and  breadth.  Fuselli  says  that  "the  forms 
of  Domenichino' s  female  faces  are  ideal ;  their  expres- 
sion is  poised  between  pure  helpless  virginity  and 
sainted  ecstacy."  Although  mild  and  courteous  in 
disposition,  Domenichino  seems  to  have  excited  the 
extreme  hostility  of  rival  painters.  He  was  so  perse- 
cuted and  threatened  by  the  infamous  triumvirate 
known  as  the  "Cabal  of  Naples,''  that  he  either  was 
worried  to  his  death,  or  was  poisoned  outright  by 
his  enemies. 
98.    The  Seven  Virtues 

99%  X  7m 

DOSSI  (Battista)  Italy 
Born,  near  Ferrara,  late  in  the  isth  Century.    Died,  1548 
Lombardo-Ferrarese  School 

Battista  and  his  brother,  Dosso  Dossi,  spent 
eleven  years  at  Rome  and  Venice  diligently  studying 
the  best  masters.  Evidently  the  brothers  painted 
much  in  collaboration,  although  in  1520  Battista 
assisted  Raphael  for  a  short  time.  Their  work,  orig- 
inal and  dramatic,  was  given  with  fine  harmonious 
color.    The  poet  Ariosto,  in  the  Orlando  Furioso, 


further  celebrated  the  names  of  the  Dossi  by  en- 
rolling them  with  Leonardo  da  Vinci,  Michael 
Angelo,  Raphael  and  Titian. 

99.  Sine,  Ceres  and  Bacchus 

36%  X  24% 

Dossi  (Giovanni  di  Lutero,  caHed  Dosso  Dossi)  Italy 
Born,  Dosso  near  Fcrrara  about  1479.   Died  Ferrara,  154a 
Pupil  of  Lorenzo  Costa. 
Lombardo-Ferrarcse  School 

In  1718^  a  fire  occurred  in  the  Ducal  Palace  at 
Ferrara  and  many  pictures  painted  by  this  one  of 
the  eminent  Dossi  brothers  were  unfortunately 
destroyed. 

100.  Orpheus 

DXJGHET  (Duchet,  Duche)  (Gaspard)  France 

Generally  called  Gaspard  Poussin,  or  le  Guaspre 
Pupil  of  his  cousin  and  brother-in-law,  Nicolas  Poussin 

Stranahan  comments:  *'At  first  adopted  the  style 
as  well  as  the  name  of  his  brother-in-law,  varying 
it  however  by  an  .equally  thorough  study  of  Claude, 
whom  it  may  be  said,  he  dramatized,  breathing  a 
tempest  into  serenity.  He  also  had  something  of  the 
careful  study  of  nature  of  the  Netherlands,  which 
gave  to  every  tree  and  flower  the  characteristic  of  its 
species."  Later  he  became  more  individual  in  style, 
painting  in  fresco,  tempera  and  oil  with  great  ease 
and  rapidity.  He  could  even  execute  a  large 
picture  in  a  single  day  without  a  trace  of  careless- 
ness. 

101.  Landscape 

38%  X  28y, 

DUNCAN  (E.)  London 

Born,  London,  1804. 

102.  Coast  Scene,  Fisherman 

18  X  12.    Dated  1851 

DUPRE  (Jules)  Paris 

Born,  Nantes,  1812.    Died,  1889 
Medals,  1833-67,  E.  U. 
Legion  of  Honor,  1849;  Officer,  1870 

It  was  in  the  early  winter  of  1889,  that  there 
passed  away  the  last  of  the  great  school  of  nature's 
interpreters  born  between  1807  and  1817.  As  a 
distinguishied  marine  as  well  as  landscape  painter,  his 
range  is  very  extensive.  His  pictures  are  full  of  fine 
color  and  unity  of  effect,  his  style  is  direct,  sincere 
and  strong.  ''One  may  have  more  or  less  sympathy 
with  the  works  of  Rousseau  or  with  those  of  Du- 
pre,"  writes  Rene  Menard,  ''but  these  two  masters 


ists  in  landscape  which  the  contemporaneous  school 
has  produced." 

103.  Sunset 

291/,  X  19 

DTJSART  (Cornelis)  Haarlem 

Born,  Haarlem,  1660.    Died,  Haarlem,  1794 
Pupil  of  Adricn  van  Ostade 
Member  of  Painters  Guild,  1679 

**However  mediocre  he  may  be,  the  painter  who 
reproduces  the  era  in  which  he  lives  will  be  more 
interesting  in  time  than  the  one  who  tries  to  repro- 
duce an  epoch  which  he  has  not  seen/'  writes  the 
celebrated  modern  genre  painter,  Alfred  Stevens. 
The  artists  who  painted  the  life  common  to  the 
Dutch  people  found  in  it  a  theme  which  could  not 
be  exhausted.  The  painters  of  Holland,  with 
trained  adroitness,  enabled  us  to  share  the  artist's 
alert  perception  for  the  interest  of  reality  and  the 
charm  of  the  actual.  Cornelis  Dusart  delighted  to 
depict  the  village  sports  of  the  Dutch  peasant. 

104.  A  Village  Inn 

54?4  X  41V4, 

DYCK,  (Anton  Van)  (Sir  Anthony  Vandyck)  Antwerp 

Born,  Antwerp,  1599.    Died,  London,  1641 
Pupil  of  Hendrik  Van  Balen  and  Peter  Paul  Rubens 
Member  of  the  Guild  of  Antwerp,  1618 
Court  painter  to  Charles  I. 
Knighted,  1632 

"Van  Dyck  has  not,  like  Rubens,  the  love  of 
power  and  of  life  for  life  itself;"  writes  Taine;  "more 
refined,  more  chivalric,  born  with  a  sensitive  and 
even  melancholy  nature,  elegiac  in  his  sacred  sub- 
jects, aristocratic  in  his  portraits,  he  depicts  with 
less  glowing  and  more  sympathetic  color  noble, 
tender,  and  charming  figures  whose  generous  and 
deHcate  souls  are  filled  with  sweet  and  sad  emotions 
unknown  to  his  master."  The  portraits  of  Van 
Dyck  were  the  inspiration  of  such  painters  as  Rey- 
nolds, Gainsborough  and  Lawrence.  The  pictures 
which  represent  sacred  subjects  belong  to  the 
period  of  his  greatest  executive  power.  Rubens  was 
the  generous  patron  of  his  early  years  as  well  as  his 
sympathetic  master.  In  1630  Van  Dyck  accepted 
the  invitation  of  Charles  I.  to  visit  England,  where 
apartments  at  Blackfriars  and  a  summer  residence 
at  Eltham  were  placed  at  his  disposal.  "The  order 
of  precedence  which  should  be  given  him  in  the  pro- 
cession of  great  men  has  never  been  exactly  deter- 


1-rs  ii.  'andscape  which  the  contemporaneous  school 
has  produced." 

103.  Sunset 

29%  X  19 

DUSABT  (Corn*  Haarlem 

^^'-'^  iaarlcm,  1794 

^■n  van  Ostade 
-  Iter*  Guild,  1679 

i  e  he  may  be,  the  painter  who 

]>roduces  the  era  m  which  he  lives  will  be  more 
cresting  in  time  than  the  one  who  tries  to  repro- 
duce an  epoch  which  he  has  not  seen/'  writes  the 
celebrated  modern  genre  painter,  Alfred  Stevens. 
The  artists  who  painted  the  life  common  to  the 
Dutch  people  found  in  it  a  theme  which  could  not 
be  exhausted.  The  painters  of  Holland,  with 
trained  adroitness,  enabled  us  to  share  the  artist's 
alert  perception  for  the  interest  of  reality  and  the 
charm  of  the  actual  Cornelis  Dusart  delighted  to 
depict  the  village  srv  -  f-^  r.f  the  Dutch  peasant. 

104.  A  Village  Inn 

DTCK.  ^K^oiAm  ^^TA^m%>c¥j^^^^^'^^^  Antwerp 

n  ,  .     v.CRUCIiJIXlOjg^  i.ondon,  1641 

Bajcn  and  Peter  Paul  Rubens 
•  Guild  of  Antwerp,  1618 
<  iJiintcf  to  Charlci  I. 
Knighted,  1632 

*'Van  Dyck  has  not,  like  Rubens,  the  love  of 
power  and  of  life  for  life  itself;''  writes  Taine;  *'more 
refined,  more  chivalric,  born  with  a  sensitive  and 
even  melancholy  nature,  elegiac  in  his  sacred  sub- 
jects, aristocratic  in  his  portraits,  he  depicts  with 
less  glowing  and  more  sympathetic  color  noble, 
tender,  and  charming  figures  whose  generous  and 
dehcale  souls  are  filled  with  sweet  and  sad  emotions 
unknow^n  to  his  master/'    The  portraits  of  Van 
the  inspiration  of  such  painters  as  Rey- 
;   ...  Dsborough  and  Lawrence.    The  pictures 
h  represent  sacred  subjects  belong  to  the 
>d  of  his  greatest  executive  power.  Rubens  was     /  . 
generous  patron  of  his  early  years  as  well  as  his 
sympathetic  master.    In  1630  Van  Dyck  accepted 
the  invitation  of  Charles  1.  to  visit  England,  where 
apartments  at  Blackfriars  and  a  summer  residence 
at  Eltham  were  placed  at  his  disposal.    "The  order 
of  precedence  which  should  be  given  him  incthe>$MfcKumber 
cession  of  great  men  has  "  ^actly  deter- 


mined/*  writes  Eugene  Fromentin,  "but  since  his 
death,  as  during  his  life,  he  seems  to  have  retained 
the  privilege  of  being  placed  near  the  throne,  and  of 
being  a  distinguished  presence  there/' 

105.  Christ  in  the  Tomb 

68ya  X  44V» 

106.  Crucifixion 

13  X  SVz 

107.  Lady  of  Balhi  Family  of  Genoa 

44 X  ssH 

BDELFELT  (Albert)  Parii 

Born,  Helsingfors,  Finland.  Contemporary 

Pupil  of  Gcrome 
Medals,  1880-1882.    Grand  Prix,  1889,  E.  U. 
Legion  of  Honor,  1889.    Hors  Concours 
Societaire  de  la  Socicte  Nationale  des  Beaux-Arts 

In  these  cleverly  composed  and  cleverly  painted 
pictures,  Albert  Edelfelt  shows  both  the  healthy 
Scandinavian  point  of  view  and  a  pictorial  sensitive- 
ness nourished  by  French  training.  In  "The  Water 
Lilies"  the  definite  and  effective  contrasts  of  light 
have  been  selected  w^ith  sympathy  for  the  sentiment 
involved. 

108.  The  Water  Lilies 

52  X  36V4 

109.  Marine 

42%  X  35% 

E.  L.  (?) 

110.  Children  Looking  over  a  Wall 

,  QV2  X  sVz 

FBEBE  (Charles  Theodore)  Paris 

Born,  Paris,  1815.    Died,  1888 
Pupil  of  Cogniet  and  Roqueplan 
Medals,  1848-65 

111.  Arab  and  Camel 

13  X  gV2 

FROMENTIN  (Eugene)  Paris 

Born,  La  Rochelle,  1820.    Died,  1876 
Pupil  of  Remond  and  Cabat 
Medals,  1849-57-59-67 
Legion  of  Honor,  1859;  Officer,  1869 
Diploma  to  the  memory  of  deceased  artisti,  E.  U.,  1878 

A  master  of  two  distinct  modes  of  expression,  that 
of  the  brush  and  of  the  pen.  His  pen  pictures  of 
African  travel  and  his  criticisms  of  the  old  masters 
of  Belgium  and  Holland  shine  forth  in  a  nation  of 
writers  who  are  famous  for  their  descriptive  and 
critical  \f6rk.  His  brush  pictures  have  a  deep  and 
pure  appreciation  as  well  as  a  delicacy  of  treatment 


that  brought  him  speedily  to  the  front  rank  of  the 
great  French  painters.  One  is  amply  compensated 
for  the  slight  faultiness  of  drawing — the  result  of 
insufficient  academic  training — by  his  comprehen- 
sive grasp  of  the  subject,  his  glowing  color  and 
poetic  feeling. 

118.   Arabs  on  Horseback 

i6  X  gVa 

FYT  (Jan)  Antwerp 

Born,  Antwerp,  1611.   Died,  Antwerp,  1661 
Pupil  of  Jan  van  den  Berch  and  of  Frans  Snyders 
Master  of  the  Guild  of  St.  Luke,  1629 
Member  of  the  Guild  of  Romanists,  1650;   Dean,  1652 

Fyt  ranked  with  his  master  Snyders,  who  was  the 
greatest  animal  painter  of  the  Flemish  school.  He 
frequently  painted  in  collaboration  with  Van  Dyck, 
Jordaens  and  Grayer.  Fyt  visited  France  and  Italy 
about  1632,  and  remained  there,  apparently,  seven 
years.  He  devoted  his  brush  to  the  painting  of 
game,  still-life,  flowers,  fruit  and  landscape,  uniting 
a  great  mastery  with  the  utmost  delicacy. 

113.  Dead  Game 

52%  X  siVs 

114.  Still  Life  (Fruit  and  Game) 

36%  X  31 

GAINSBOROUGH  (Thomas)  England 

Born,  Sudbury,  Suffolk,  1727.    Died,  London,  1788 

Pupil  of  Gravclot  and  Francis  Hayman 

Member  of  the  Society  of  Artists,  1766 
One  of  the  founders  of  the  Royal  Academy,  1768 

Handsome,  enthusiastic,  impulsive,  warm-hearted 
and,  if  somewhat  capricious  and  easily  irritated, 
generous  to  a  fault,  Gainsborough  was  the 
artistic  temperament  personified.  Devoted  to  art 
in  every  form,  actors  and  musicians  were  his 
chosen  associates.  In  landscape  and  portraiture, 
Gainsborough  from  the  first  occupied  one  of 
the  highest  places  in  the  English  school  of  painting. 
The  French  critic,  M.  Chesneau,  calls  him  "the 
father,  the  originator  of  modern  landscape,''  and  his 
distinguished  rival,  Sir  Joshua  Reynolds,  declares: 
'^Whether  he  most  excelled  in  portraits,  landscape, 
or  fancy  pictures  it  is  difficult  to  determine/'  The 
favorite  painter  of  the  king,  Gainsborough  has  left 
us  vivid  portraits  of  the  royal  family  and  the  eminent 
men  and  women  of  his  day.  "Deep-thoughted,  sol- 
emn Gainsborough/'  writes  Ruskin,  "pure  in  his 


.£11  lodmuVL  otrgolBiBD 


that  brought  him  speedily  to  the  front  rank  of  the 
great  French  painters.  One  is  amply  compensated 
for  '^'^ht  faultiness  of  drawing — the  result  of 
ins.  academic  training — by  his  comprehen- 

51 V  af  the  subject,  his  glowing  color  and 

i6  X  gy, 

WX'j  Antwerp 

Horn,  Antwerp,  1611.    Died,  Antwerp,  1661 
Fupil  of  Jan  van  den  Berch  and  of  Frans  Snydcrs 
Master  of  the  Guild  of  St.  Luke,  1629 
Member  of  the  Guild  of  Romanists,  1650;   Dean,  1652 

Fyt  ranked  with  his  master  Snyders,  who  was  the 
greatest  animal  painter  of  the  Flemish  school.  He 
frequently  painted  in  collaboration  with  Van  Dyck, 
Jordaens  and  Crayer.  Fyt  visited  France  and  Italy 
about  1632,  and  remained  there,  apparently^  seven 
years.  He  devoted  his  brush  to  the  painting  of 
game,  still-life,  flowers,  fruit  and  landscape,  uniting 
a  great  mastery  with  the  utmost  delicacy. 
113.    Dead  Game 

LANDSCAPE 
J 14.   Htill  Life  (Fruit  and  Game) 

36%  X  31 

0A.Tmm>mVQM  (Thomas)  England 

ibury,  SufTolk,  17J7.    Died,  London,  1788 
of  Gravelot  and  Francis  Hayman 
vf-  of  the  Society  of  Artists,  1766 
■         and eri  of  the  Royal  Academy,  1768 

.  impulsive,  warm-hearted 
ons  and  easily  irritated, 
Gainsborough    was  the 
ai  liiiuc  leiiiperameni  personified.    Devoted  to  art 
1:   every  form,  actors  and  musicians  were  his 
en  associates.    In  landscape  and  portraiture, 
from  the   first  occupied   one  of 
es  in  the  English  school  of  painting, 
'itic,  M;  Chesneau,  calls  him  "the 
■  or  of  modern  landscape,"  and  his 
.      .  uvai,  Sir  Joshua  Reynolds,  declares: 
Whether  he  most  excelled  in  portraits,  landscape, 
or  fancy  pictures  it  is  difficult  to  determine."  The 
favorite  painter  of  the  king,  Gainsborough  has  left 
us  vivid  portraits  of  the  royal  family  and  the  eminent 
-  and  women  of  his  day.  **Deep-thougfi^&\3f^§c]f^^^^" 
Gninsl  orough/'  writes  Ruskin,  ''pure  in  his 


I 


English  feeling,  profound  in  his  seriousness,  grace- 
ful in  his  gayety.  A  great  name  his,  whether  of  the 
English  or  any  other  school — the  greatest  colorist 
since  Rubens.  *  His  hand  is  as  light  as  the  sweep 
of  a  cloud,  as  swift  as  the  flash  of  a  sunbeam.  In  a 
word,  Gainsborough  is  an  immortal  painter." 

115.  Landscape 

57^4  X  39y2 

GARDIER,  (Raoul  du)  Pari* 

Born,  Wcisbaden.  Contemporary 
Pupil  of  Gustave  Morcau,  Chartran,  Albert  Maigman. 
Honorable  Mention,  1897.   Medal,  1900  E.  U. 
Membre  de  la  Societe  des  Artistes,  frangais 
Fondateur  Societe  du  Salon  D'Automne. 

In  this  characteristic  yachting  scene  there  is  a  fine 
swinging  list  to  the  boat,  a  suggestion  of  water  hurry- 
ing past  the  rail,  the  whole  conveying  an  impression 
of  irresponsible  holiday  making  that  is  pleasant  to 
contemplate. 

116.  The  Yachting  Party 

98  X  59 

GABBIDO,  (Leandro  Ramon  )  Paris 
Bom,  Bayonne  (Basses  Pyrenees.)  Contemporary 

Pupil  of  Delancey,  Moreau  and  Courtois. 
Associe  de  la  Societe  Nationale  des  Beaux-Arts 

A  clever  intelligent  piece  of  character  painting 
which  conveys  the  unrestrained  and  unaffected  natu- 
ralness of  the  subject.  The  breadth  and  boldness 
of  treatment  suggests  the  influence  of  Frans  Hals^ 
the  supreme  master  of  these  qualities. 

117.  The  Treasure 

2iy2  X 

GSBOME  (Jean  Leon)  Paris 

Born,  Vcsoul,  1824.    Died,  Paris,  1904 
Pupil  of  Paul  Delaroche 
Medals,  1847-48-55     Sculpture,  1878 
Grand  Medals  of  Honor,  1867-74-78 
Legion  of  Honor,  1855;  Officer,  1867;  Commander,  1878 
Member  of  the  Institute  of  France,  1865 
Honorary  Member  R.  A.,  London 

"Let  us  nmrk  with  white  this  lucky  year,"  wrote 
Gautier  in  1847,  ''for  unto  us  a  painter  is  born.  He 
is  called  Gerome.  I  tell  you  his  name  to-day,  and 
*  to-morrow  it  will  be  celebrated."  Certainly  few 
reaped  so  great  a  reward  for  conscientious  labor 
together  with  an  unimpaired  ability  to  enjoy  and 
profit  by  it,  as  was  granted  to  Gerome.  In  most  of 
the  art  galleries  and  private  collections  of  the  world 
his  pictures  are  to  be  found  and  honors  of  every 
kind  were  showered  upon  this  accomplished  and 


even   workman,   superb   draughtsman,  scholarly 
thinker,  sculptor  as  well  as  painter. 

118.  An  Arab  Chieftain 

10  X  14 

OirrORD  (Robert  Swain)  New  York 

Born,  Naushon  Island,  Massachusetts,  1840 
Studied  under  Albert  Van  Beest 
Medal,  Centennial  Exhibition.  1876 
National  Academician,  1878 
Awarded  $2,500  prize  at  the  First  Prize  Fund  Exhibition,  New  \ork,  i88a 

119.  Our  American  Cousin 

10  X  7,    Dated  x86o 

GIROUSE  (AchiUe) 

120.  Horse  and  Dog 

10  X  12, 

GOSSELIN  (Albert)  Paris 

Born,  Paris.  Contemporary 
Pupil  of  Harpignies,  Jules  Lefebvre  and  Hector  Le  Roux 
Medal,  1896-97-1900,  E.  U. 
Legion  of  Honor,  1900.      Hors  Concours 
Membre  de   la   Societe  des  Artistes  frangais 

A  picture  interesting  in  arrangement  and  of  dig- 
nified thought,  expressed  with  the  refinement  of 
French  technique. 

121.  Landscape 

32  X  23% 

GOYEN  (Jan  Van)  Holland 

Born,  Leyden,  1596.    Died,  The  Hague,  1656 
Pupil  of  Esaias  van  der  Vclde 
President  of  the  Guild,  1640 

One  of  the  earliest  oi  the  seventeenth  century 
landscapists,  Van  Goyen  was  one  of  the  first  to 
discover  that  landscap(i  in  itself  was  a  motive  adapt- 
able to  pictorial  treatment.  Prior  to  this  the  figure 
alone  was  considered  a  picture  m.otive,  landscape 
was  to  be  used  simply  as  an  accessory  or  a  back- 
ground. Van  Goyen  studied  atmospheric  efifects 
with  the  most  happy  results,  giving  a  refined  analy- 
sis in  quiet  silvery  color,  of  light  skies  with  drifting 
clouds.  The  Dutch  harbors,  with  their  characteristic 
ships,  buildings  and  wind-mills,  constituted  a 
favorite  subject  and  one  for  which  he  is  justly 
famous. 

122.  Landscape 

i6Vb  X  9% 

123.  Landscape 

S0V2  X  54%.    Dated  1632. 

124.  Marine 

13V2  X  9% 

125.  View  of  Dort 

57  X  37 


Geum?m:e  (Jean  Leon) 
AN  ARAB  CHIEFTAIN 


Catalogue  Number  ii8. 


.8ii  lodmuVi  ^u^ol&iBO 


Go  YEN  (Jan  Van) 
VIEW  OF  DORT 


Catalogue  Number  125. 


QTtAEB  (Karl  Georg  Anton)  Berlin 

Born,  Berlin,  1816.    Died,  Berlin,  1884 
Pupil  of  Gcrst  and  Berlin  Academy 
Painter  to  the  Court,  1851 
Great  Gold  Medal,  1854 
Member  of  Berlin,  Amsterdam  and  Vienna  Academies 

126.  Market  Place,  Leitmeritz,  Bohemia 

20%  X  27% 

GRANER  (GRANER-ARIIUFI)  (Louis)  Spain 

Born,  Barcelone.  Contemporary 
Honorable  Mention,   1889,  E.  U. 
Associe   de   la   Societe   Nationale   des  Beaux-Arts 

These  pictures  present  an  artistic  totality.  The 
subtle  light  in  each  is  painted  with  analysis  and 
truth.  Carolus  Duran  has  said:  'Tainting  is  not 
done  with  the  eyes.  It  is  done  with  the  brains  for 
order,  with  the  heart  for  love,  with  the  emotions 
for  sentiment  and  feeling." 

127.  Meditation 

3Q]:^  X  2878 

128.  The  Gamesters 

44V4  X  31% 

GBECO,  Eli  (Domenico  Theotocopuli)  Toledo 

Born,  1548.   Died,  Toledo,  1625 
Pupil  of  Titian 

El  Greco,  so-called  from  his  Greek  parentage, 
studied  in  Venice,  that  home  of  rich  color  and  flow- 
ing pictorial  drawing.    During  his  long  residence 

in  Spain  however  his  color  seems  to  have  become 
cold  and  grey  in  tone.  In  his  treatment  of  religious 
subjects,  there  is  a  dignity  of  composition,  together 
with  a  power  of  conveying  the  idea  and  type  he 
sought  to  express  that  was  both  eloquent  and  dra- 
matic. Many  of  the  Spanish  painters  were  his 
pupils  and  disciples,  but  his  influence  was  not  con- 
fined to  men  of  his  own  country.  Millet^  the  French 
master  of  poetic  force  and  simplicity,  owned  a  pic- 
ture by  Greco  in  order  that  its  influence  might  be 
always  with  him.  Later  this  picture  was  purchased 
by  Degas,  that  delightful  brushman  and  painter  of 
motion.  The  Church  of  the  Hospital  of  Charity  at 
Illescas  is  a  monument  to  the  united  skill  of  Greco 
as  architect  and  sculptor. 

129.  The  Crucifixion 

40%  X  81  Vg 

GBYEFF  (Grief,  Grijff)  (Adriaan  de)  Belgium 

Born,  Antwerp  (?)  in  i67o(?).    Died,  Brussels(?),  1715 
Member  of  the  Guild  at  Antwerp,  1690 

In  artistic  feeling  and  manner,  this  still-life,  ani- 
mal and  landscape  painter  was  allied  with  his  com- 
patriot Jan  Fyt.    Very  little  knowledge  of  his  life 


has  survived  the  intervention  of  time,  but  his  work 
still  lives  to  speak;  for  him.  Other  noted  examples 
are  in  New  York,  Paris  and  St.  Petersburg, 

130.  Dead  Game 

29  X  24 

GUDE  (HanB  Fredrik)  Carlsniha 

Born,  Christiania,  1825 
Pupil  of  Andreas  Achcnbach  and  of  Dusseldorf  Academy 
Medals,  Paris,  1855-61-67;  Berlin,  1852-60;  Weimar,  1861 
Member  Amsterdam,  Rotterdam,  Stockholm,  Berlin  and  Vienna  Academies 

131.  Norwegian  Sunset 

46V2  X  31.    Dated  1851 
OXXSKCINO,  IL  (Giovanni  Franceico  Barbieri)  Italy 

Born,  Cento,  1591.    Died,  Bologna,  1666. 
Bolognese  School 

II  Guercino,  so  called  from  a  defect  in  his  eyes,  was 
of  humble  parentage.  His  father  supplied  the  nearest 
town  with  wood,  the  little  Giovanni  Francesco  taking 
carp  of  his  cart.  The  boy  gave  early  indication  of 
uncommon  artistic  talent.  Before  his  tenth  year  he 
had  painted  a  figure  of  the  Virgin  on  a  side  of  his 
father's  house  with  a  skill  that  w^ould  have  been  con- 
sidered remarkable  even  at  a  more  mature  age.  In 
this  head  of  St.  Joseph  we  see  the  intellectual  concep- 
tion and  elevated  taste,  the  fine  and  yet  glowing 
color,  together  with  that  delicate  touch  so  character- 
istic of  the  painter.  When  Queen  Christiana  of 
Sweden  passed  through  Bologna  she  visited  Guer- 
cino, expressing  the  pleasure  she  felt  at  taking  into 
her  own  the  untiring  hand  which  had  painted  one 
hundred  and  six  altar  pieces  as  well  as  one  hundred 
and  forty-four  pictures  for  leading  personages  of 
Europe.  With  the  great  riches  acquired  by  his  pro- 
fession, Guercino  built  chapels,  founded  hospitals, 
and  gave  liberally  in  all  acts  of  charity. 

132.  St.  Joseph 

33%  X  43% 

GXJIDO  (Guido  Keni)  Bologna 

Born,  Bologna,  1575.    Died,  Bologna,  1642 
Pupil  of  Denis  Calvart  and  Lodovico  Carracci 
Bolognese  School 

The  father  of  Guido  Reni  was  a  musician  and 
early  directed  his  son's  talents  to  the  study  of  the 
harpsichord.  At  the  age  of  nine,  however,  Guido 
showed  such  a  determination  to  be  a  painter  that 
he  was  given  an  opportunity  of  studying  art,  and 
before  his  thirteenth  year  had  attained  marked  pro- 
ficiency. In  1608,  Guido  went  to  Rome,  where  he 
gained  distinction  and  was  given  many  important 
commissions  in  the  pontificate  of  Paul  V.  (Borghese.) 


Twenty  years  later  he  settled  in  Bologna  and  estab- 
lished a  celebrated  school.  Here  he  lived  in  great 
splendor  for  a  tim^e.  Gradually,  however,  his  immense 
fortune  was  squandered  in  dissipation,  gambling,  and 
— to  the  credit  of  this  man  of  many  gifts,  be  it  said — 
by  indiscriminate  generosity.  At  last  he  was  reduced 
to  selling  his  time  to  picture  dealers,  and  under  the  cir- 
cumstances produced  uork  that  too  often  was  un- 
worthy of  his  name.  "The  distinguishing  characteris- 
tics of  his  style  are  elegance  and  graqe,  a  singular 
facility  of  execution,  and  exquisite  touch  and  great 
suavity  and  harmony  of  coloring." 

133.  Cain  and  Abel 

101%  X  'jzV^ 

QiriQNERY  (Gustave  Alfred)  Paris 

Born,  Paris.  Contemporary 
Honorable  Mention,  1901 

This  picture  is  presented  with  simphcity  and 
poetic  charm.  The  moon,  not  in  itself  seen,  illumines 
the  scene  to  almost  the  clearness  of  day.  The  quiet 
water  reflects  in  a  gleam  of  silver  its  clear  cold  light. 

134.  Moonlight 

56%  X  43% 

GTTILLATJME  (Albert- Andre)  Paris 

Born,   Paris.  Contemporary 
Legion  of  Honor 
Societaire  de  la   Societe   Nationale  des  Beaux-Arts 

A  circular  composition  wherein  the  point  of  in- 
terest is  uniquely  concentrated  on  the  hands  en- 
gaged in  the  spiritualistic  experiment  of  table 
tipping. 

135.  Looking  into  the  Beyond 

31%  X  25% 

QUILIiAUMBT  (Gustave)  Paris 

Born,  Paris,  1840. 
Pupil  of  Picot,  Barrias,  and  of  Ecole  des  Beaux-Arts. 
Medals,  1865-67-72-78. 
Legion  of  Honor,  1878. 

This  painter  loved  the  luminous  light  of  the  East 
and  with  notable  simplicity  painted  it  just  as  he  felt 
it.  Puvis  de  Chavannes  has  stated  that  "Simplicity 
means  an  untrammelled  idea.  The  simplest  con- 
ception will  be  found  to  be  the  most  beautiful.'' 
Living  in  Algeria  vnth  the  Arabs,  Guillaumet  was 
enabled  to  study  them  in  their  own  surroundings 
and  his  greatest  success  has  been  won  in  rendering 
the  life  of  the  desert.  This  picture  is  everywhere 
pervaded  with  a  wonderful  iridescent  light  and  that 


poetry  of  the  True  and  the  Real  which  made  him 
so  eminent  among  the  men  in  France  who  formed 
the  school  of  the  Orientalists. 
186.   The  Desert  at  Sunset 

HAMILTON  (James)  Philadelphia 

Born,  Ireland,  1819.    Died,  1878. 
Studied  in  Philadelphia 

137.  Moonlight  at  Sea 

41  X  28.    Dated  1862 

HARRISON  (Thomas  Alexander)  Paris 

Born,  Philadelphia,  1853 
Studied  in  San  Francisco,  Philadelphia  and  Parii 
Medals,  San  Francisco,  1878.    P.  A.  F.  A.,  1887-93 
Paris,  1889  E.  U.    Munich,  1890. 
Awarded  $2,500  prize  at  First  Prize  Fund  Exhibitions,  New  York,  1885 
Chevalier  de  la  Legion  d'Honneur,  Officier  d'Instruction  Publique 
Sociitaire  de  la  Socictc  Nationalc  dca  Beaux-Arts 

The  pictures  of  Mr.  Harrison  are  portrayed  with 
such  admirable  simplicity  of  method  that  they  seem 
to  exist  ;  they  are  a  materialized  vision  of  the  artist. 
The  effect  in  his  marines  is  called  into  conscious- 
ness by  the  subtle  skill  of  delicate  gradation  in 
the  transparent,  vibrant  air  and  water,  with  their 
secret  depth  and  mysterious  expanse.  Mr.  Harri- 
son is  one  of  a  group  of  men  who  have  brought 
America  into  prominence  before  the  world  of  art  by 
the  breadth  of  his  accomplishment,  but  it  is  in  the 
interpretation  of  the  sea  that  he  finds  his  most  forci- 
ble technical  expression. 

138.  A  Festival  Night 

55  X  36V2 

139.  East  Hampton 

140.  Le  Grand  Miroir 

141.  Marine 

^SVs  X  371/8 

HELLEU  (Paul  Cesar)  Paris 

Bom,  Vannes.  Contemporary 
Societaire  de  la  Societe  Nationale  des  Beaux-Arts 

The  softened  glory  of  this  autumn  day  at  Ver- 
sailles is  rendered  with  directness  and  careful 
thought.  There  is  a  distance  and  a  feeling  of  silence 
that  is  interestingly  conceived. 

142.  Versailles 

HBL8T  (Bartholomeus  van  der)  Holland 

Bom,  Harlem  or  Dordrecht  in  1613?   Died,  Amsterdam,  1670. 
With  Nicolaas  van  Helt  Stockade  founded  the  Guild  of  St.  Luke. 


3^Vs  X  28 
98  X  47 


Bartholemeus  van  der  Heist  ranks  as  one  of  the 
ablest  portraits  painters  of  Holland — that  hom^e  of 
consummate  masters  in  portraiture.  Sir  Godfrey 
Kneller  was  profuse  in  his  commendation  of  Heist's 
celebrated  *'Schuttusmallzer'  a  composition  em- 
ploying twenty-five  large  portrait  figures.  Sir 
Joshua  Reynolds  also  states  that  this  is  ^'perhaps 
the  finest  picture  of  portraits  in  the  world,  com- 
prehending more  of  those  qualities  which  make  a 
perfect  portrait  than  any  other  I  have  seen."  In 
the  felicitous  presentment  of  this  worthy  Dutch 
couple  Philadelphia  is  fortunate  in  owning  a  canvas 
that  richly  exemplifies  the  qualities  which  distin- 
guish Heist's  work. 

143.  Portraits 

46%  X  621/2 

HELST  (Lodewyk,  Lodewijk  van  der)  HoUand 

Born,  Amsterdam,  1642  or  43.    Died,  after  1680 
Pupil  of  his  father,  Bartholomeus  van  der  Heist 

The  work  of  the  portrait  painter  is  not  unlike 
that  of  the  historian  or  the  novelist ;  in  a  painted 
record  of  an  individual  we  find  the  same  observa- 
tion and  analysis  that  is  required  in  a  written 
description.  The  sedate  individuality  of  the  figures 
represented  here  and  the  truth  of  expression  are 
rendered  with  a  keen  insight  which  makes  this 
group  both  notable  and  enduring.  They  show  the 
calm  and  earnest  point  of  view  evinced  by  Lodewyk 
van  der  Heist  and  are  reminiscent  of  the  quiet  dig- 
nity of  composition,  firm  modelling,  excellent  detail 
and  easy  solid  painting  that  is  characteristic  of  his 
father,  Bartholomeus. 

144.  Portraits 

79%  X  yiVs    Dated  1673 
HEBBEBA  (Francisco  do,  the  elder)  Spain 

Born,  Seville,  about  1576.    Died,  Madrid,  1656 
Pupil  of  Luis  Fernandez 

Herrera**the  terrible''  was  unquestionably  the  pre- 
cursor of  Spanish  realism.  He  had  the  honor  of  re- 
forming the  insipid  taste  of  his  country  by  adopting 
a  vigorous  and  original  style  of  painting  that  antici- 
pated Velasques.  He  painted  his  pictures  as  he  did 
everything  else,  in  a  sort  of  frenzy,  and  the  boldness 
of  his  brush  was  equalled  only  by  the  impetuosity  of 
his  temper.  His  students,  among  whom  was  the  pre- 
eminent Velasques,  and  even  his  children,  soon  left 
him,  owing  to  his  violence.  A  fondness  for  engrav- 
ing medals  led  to  an  accusation  of  coining  false 


money,  and  Herrera  was  obliged  to  take  refuge  in 
the  sanctuary  of  the  Jesuits'  College.  I^ere  he 
painted  a  noble  altar  piece,  and  Philip  IV.  seeing  the 
picture,  granted  a  free  pardon  to  the  painter. 

145.  The  Flagellation 

5278  X  38% 

HETZEL  (George)  Pennsylvania. 

Born,  Alsace,  1826 
Studied  in  Dusseldorf 
Medal,  Centennial  Exhibition,  1876 

146.  Lake  Ducks 

30  X  38.   Dated  1864 

147.  Bhady  Brook 

30  X  20.   Dated  1867 

HIIISCHEELD,  (Emile  BenedicktofP)  Paris 
Born,  Odessa.  Contemporary. 
Pupil  of  Bougucreau,   Lefcbvre  and  Robert  Fleury. 
Honorable  Mention,  1892.   Medal,  1894 — 1900  E.  U. 

The  atmosphere  is  suffused  with  delicate  and  va- 
porous light  from  the  moon,  the  latter  partially 
screened  by  clouds.  Yellow  lamplight  bl'urs  through 
a  silver  mist.  The  water  reflects  the  light  of  the 
moon.  Ships  lie  at  the  dock,  their  great  sails  loom- 
ing in  shadowed  majesty  across  the  picture.  The 
painting  presents  a  picturesque  and  artistic  totality 
equally  lovable  and  dramatic. 

148.  The  Storm 

28J4  X  21^ 

HOFFBAXJEB  (Charles)  Paris 

Born,  Paria.  Contemporary 

Pupil  of  Gustave  Moreau,  Flameng  and  Cormon 
Medals,  1899- 1900  E.  U.      Bourse  de  Voyage,  1902 

Prix  Rosa-Bonheur,  1902.      Prix  National,  1906 
Hors  Concours 

Membre  de  la  Societe  des  Artistes  frangais 

From  a  bleak,  snow-covered  village  pass  a  group 
of  peasants,  poorly  clad  and  armed  with  rude  weap- 
ons. An  old  man  sadly  watches  their  departure 
from  his  gateway.  The  enthusiasm  of  the  patriot 
and  his  stern  resolution  are  vividly  expressed  in  the 
faces  of  old  and  young. 

149.  A  Flemish  Bdsing 

127VB  X  821/4 

HOQITET  (Charles)  Berlin 

Bom,  Berlin,  1821.    Died,  Berlin,  1870. 
Pupil  of  Krause  and  in  Paris  of  Ciceri  and  Isabey 
Gold  Medals  in  Paris  1848  and  in  Berlin 
Member  of  Berlin  Academy  in  1869 

150.  Interior  and  Figures 

9V2  X  6% 


HONDECOETEB  (Melchior  d')  Holland 

Born,  Utrecht,  1636.    Died,  Amsterdam,  1695 
Pupil  of  Gysbcrt  d'Hondecoeter  and  Jan  Baptista  VVienix 
Member  of  The  Hague  Guild,  1659-63 

Hondecoeter  stands  unrivalled  in  the  painting  of 
game^  poultry  and  birds  of  beautiful  plumage.  He 
has  portrayed  with  great  spirit  and  accuracy  not 
only  their  appearance,  but  also  their  varied  habits, 
motions  and  characteristics.  In  rich  color,  and  with 
a  masterful  brush,  he  suggests  an  all-pervading  life, 
unique  in  its  expression  of  joy,  hate,  fear  or  love. 
Burger  says  that  Hondecoeter  displays  *'the  ma- 
ternity of  the  hen  with  as  much  tenderness  and  feel- 
ing as  Raphael,  the  maternity  of  Madonnas." 

151.  Stm  Life 

31%  X  27% 

152.  The  Poultry  Yard 

109  X  S3V2 

HONTHOIIST  (Gerard  Van)  Holland 
Born,  Utrecht,  1590.   Died,  Utrecht,  1656. 
Pupil  of  Abraham  Bloemart. 
Freedom  of  the  Guild  of  Utrecht,  1623.    The  Hague,  1637. 

Called  Gherardo  della  Notte  because  of  his  fancy 
for  representing  subjects  by  torchlights,  yet  in  any 
effect  of  light  this  artist  painted  boldly  with  a  power- 
ful chiaroscuro  which  attested  to  his  admiration  for 
the  pictures  of  Caravaggio.  Honthorst  painted  at 
the  court  of  King  Frederic  in  Prague  and  later 
visited  England  where  he  decorated  the  Palace  of 
Whitehall  by  order  of  Charles  L  At  this  time  he 
painted  the  portraits  of  the  King,  the  Queen  and 
their  children  as  well  as  many  of  the  nobility  of  that 
era.  Returning  to  Holland  he  worked  chiefly  for 
the  princes  of  Orange. 
158.   Lot  and  his  Daug}iters 

HOPKINS  (James  R.)  Paris 

Born,  Ohio.  Contemporary 

A  decorative  arrangement.  Oriental  in  its  sim- 
picity,  painted  on  a  short  scale  of  pale  color,  but 
complete  through  a  fastidious  translatioa  of  value, 
an  enticing  quality  of  tone.  The  tranquillity  of  the 
whole  is  distinctly  Japanese,  distinctlv  Whistlerian, 
distinctly  modern. 
154.   The  Friends 

44  X  90% 

HTJBBELL  (Henry  Salem)  Paris 
Born.  America.  Contemporary. 
Pupil  of  the  Art  Institute  «)f  Chicago,  Whistler  and  Raphael  Collin 
Honorable  Mention,  1901.    Medal,  1904 
Silver  Medal,  St.  Louis  Exposition  1904 


Mr.  Hubbeirs  still  life  is  distinguished  by  skil- 
ful technique  and  notable  qualities  of  color,  texture 
and  light. 
155.    The  Coppers 

HUMPHREYS  JOHNSTON  (John)  Paris 
Born»  New  York.  Contemporary 

Medal,  1900,  E.  U.    Legion  of  Honor,  1901 
Associe  de  la  Societc  Nationale  de«  Beaux-Arts 

The  personality  of  the  Spanish  Gypsy  here  ex- 
hibited, is  expressed  with  a  harmony  of  color  and 
breadth  of  handling  only  possible  to  an  expert  and 
sympathetic  brush.  "America  can  well  be  proud 
of  this  painter,"  writes  the  well-known  French  jour- 
nalist and  critic,  M.  Rochefort. 
15G.    El  ICamador 

25  X  23 

INNE8S  (George)  New  York 

Bom,  Newburgh,  New  York,  1825.    Died,  1894 
National  Academician,  1868 

To  this  thoughtful  and  analytical  student  has  been 
unanimously  conceded  the  first  place  in  American 
landscape  art.  His  fame,  which  is  international,  has 
been  won  by  a  life  spent  in  the  profound  study  of 
each  problem  of  his  art,  wrought  out  with  an 
unfailing  vitality  and  energy,  a  positiveness  of 
action  and  certainty  of  result,  which^  in  its  contin- 
uity, is  unique.  His  style  has  undergone  many 
changes,  but  the  marked  personality  of  his  work  has 
always  a  fascinating  interest.  There  is  an  underly- 
ing breadth  of  purpose,  an  appeal  to  the  imagina- 
tion, a  power  in  the  solid  mass  and  bulk  of  nature  as 
he  saw  and  expressed  it,  and  in  his  later  work  es- 
pecially, a  mastery  of  atmospheric  effects,  of  the 
problems  of  light,  air  and  color. 
157.   Short  Cut,  Watchung  Station  N.  J. 

28^2  X  37 

ISABEY  (Eugene)  (Louis  Gabriel)  Paris 
Bom,  Paris,  1804.    Died.  Paris,  1886 
Pupil  of  his  father,  Jean  Baptiste  Isabey 
Medals,  1824-37-55 
Legion  of  Honor,  1833;  Officer,  1852 

The  handling  of  "The  Prisoners''  is  fluent,  intelli- 
gent and  bold.  Everything  is  treated  according  to  its 
interest^  its  relative  value.  "Painting  is  not  merely 
an  imitation  of  reality,  but  a  pai-allel  with  nature/' 
writes  Puvis  de  Chavannes.  The  picture  shows 
a  rhythmic  line,  color  and  motion  thoroughly  in 


TAT8  OXUHOTAV/  .TUO  THOTl 


iistinguished  by  skil- 
juaiities  of  color,  texture 


N  (John)  Pari* 

w  York.  Contemporary 

U.    Legion  of  Honor,  190T 
•ci^ti  Nationale  dci  Beaux- Arts 

e  personality  of  the  Spanish  Gypsy  here  ex- 
jinted,  is  expressed  with  a  harmony  of  color  and 
breadth  of  handling  only  possible  to  an  expert  and 
sympathetic  brush.  "America  can  well  be  proud 
of  this  painter,"  writes  the  well-known  French  jour- 
nalist and  critic,  M  Rochefort. 
150.    £1  MamAdor 

IMMUMI  V  N«w  York 

National  .i,  i:.-.A* 

i  o  this  thoughtful  ai^  ^  tical  student  has  been 
unanimously  conceded  the  first  place  in  American 
la>  ^  art,    His  fan^e,  which  is  international,  has 

bi  b^W^feC^iWfP^^in  the  profound  study  of 

SSft|^c<?¥»eV^'ReH#^t^JA^^  with  an 

>  and  energy,  a  positiveness  of 
r  .  dinty  of  result,  which^  in  its  contin- 

uity, is  unique.    His  style  has  undergone  many 
marked  personality  of  his  work  has 
\.      terest.    There  is  an  underly- 
an  appeal  to  the  imagina- 
j  mass  and  bulk  of  nature  as 
.  r  .  i.  ^-.  .  it,  and  in  his  later  work  es- 
..iy,  a  mastery  of  atmospheric  effects,  of  the 
problems  of  light,  air  and  color. 
Short  Gut,  Watchung  Station  N.  J. 

28^4x37 

XSABEY  (Eug^---  ^  Oabriel)  Paris 

■'i,  1804.    Died.  Paris*  1886 
i  father.  Jean  Baptiste  Isabey 
Medal  t,  1834-37-55 
Legion  of  Honor,  1833 ;  Officer*  1853 

The  handling  of  'The  Prisoners"  is  fluent,  intelli- 
p:ent  and  bold.  Everything  is  treated  according  to  its 
-    '   .  ^  r  .  >  value.   "Painting  is  not  merely 
tv,  but  a  pai'allel  with  nature/' 
annes.    The  pi^M^"Sl^&«^r 
'    '   Mon  thoroughly  in 


sympathy  with  the  picturesque  and  romantic  sub- 
ject. In  1830,  Isabey  accompanied  the  French  ex- 
pedition to  Algiers  as  royal  marine  painter.  He  was 
one  of  the  most  successful  artists  of  France  at  the 
time  of  his  death. 

158.  The  Prisoners 

36  X  24 

JACQXJE  (Charles  fimile)  Parii 

Born  in  Paris,  1813.    Died,  1894 
Medal.  1861-63-64 
Legion  of  Honor,  1867 

A  celebrated  etcher  as  well  as  painter,  Jacque 
was  ver}'  prominent  in  the  revival  of  etching.  Speci- 
mens of  his  work  are  now  eagerly  sought  for  and 
large  sums  paid  for  what  originally  brought  but  a 
few  francs.  **And  remark,  that  they  are  always  the 
same,''  this  artist  has  been  known  to  say.  As  painter 
his  best  works  are  of  the  farmyard,  and  the  sheep, 
pigs  and  poultry  which  he  bred  and  so  thoroughly 
studied  and  appreciated,  have  brought  widely  ex- 
tendjed  fame  to  their  owner. 

159.  Landscape  with  Sheep  Grazing 

9V2  X  6V2 

JOBEKT  (C.  F.  Paul)  Franca 

Honorable  Mention,  1889,  E.  U.    Medal,  1893 
Hors  Concours 
Membre  de  la  Societe  des  Artistes  frangais 

I'his  view  of  the  harbor  at  Dieppe  at  once  arrests 
the  visitor's  attention.  It  is  notable  for  honest 
workmanship  and  accurate  observation,  the  details 
being  well  arranged  and  producing  a  most  happy 
result. 

160.  Boats  at  Anchor 

48y4  X  ssy* 


JOBDAENTS  (Jan)  HoUand 

Born,  Delft,  1616.     Died,  Voorburg,  1669 

A  decoration,  mythological  in  subject,  that  has 
been  conceived  largely  and  painted  with  broad  and 
sincere  handling.  The  fine  action,  a  vigorous  pre- 
sentment of  muscular  development,  great  sweeping 
lines,  rich  masses  of  color,  all  evidence  the  artist- 
observer  whose  wide  knowledge  of  nature  enables 
him  to  adapt  it  to  his  own  purpose.  Jan  Jordaens 
apparently  spent  many  years  in  Italy,  living  in  turn  ^ 
in  Naples,  Venice  and  Rome. 
161.   Circe  and  Ulysses. 

80%  X  53 


J.  R,  (P) 


This  portrait  by  an  unknown  monogramist  is 
characterized  by  refinement  and  distinction  of  style, 
no  less  than  by  the  capacity  to  express  with  unaffec- 
ted naturalness  the  elusive  and  subtle  personal 
traits.  If  it  is  true  that  ''a  portrait  reflects  its 
creator  as  much  as  its  theme/'  then  this  portrait 
evidences  the  master's  hand.  In  revealing  the  per- 
sonality of  his  subject  the  artist  subordinates  all 
technical  detail,  thereby  transforming  for  all  time 
a  momentary  effect  into  a  living  being. 

162.  Portrait 

KENSETT  (John  Frederick)  New  York 

Born,  Connecticut,  1818.    Died,  New  York,  1872 
National  Academician,  1849 

163.  Hill  and  Valley,  Sunrise 

22  X  18 

KONINCK  (Philip  de)  Amsterdam 

Born,  Amsterdam,  1619.    Died,  Amsterdam,  1688 
Pupil  of  Rembrandt 

It  is  characteristic  of  the  Dutch  painter  to  aim 
at  thoroughness  in  one  direction.  The  theme  of 
this  picture^  an  extensive  tract  of  country  seen  from 
a  height  against  gray  rolling  clouds,  was  painted 
again  and  again  by  Koninck.  His  fame  rests  on  its 
ach  evement  rather  than  on  his  portraits  and  his- 
torical pictures.  There  is  a  surprising  truth  to 
nature  in  the  landscape;  a  breadth  of  conception 
given  always  in  color,  warm  and  clear.  His  pic- 
tures are  valuable  for  their  rarity  as  well  as  for  their 
excellence,  some  of  the  finest  being  in  the  private 
English  collections. 

164.  View  of  the  Elterberg  near  Kleef 

48%  X  38 

KBIEGHOFF  (Cornelius)  Quebec 

Born,  Diisseldorf,  1812.     Died,  Chicago,  1865 
Studied    in    Diisseldorf   and  Paris 

165.  Canadian  Winter  Scenery 

36  X  24.    Dated  1857 

166.  Landscape 

24  X  16 

LAMBDIN  (George  C.)  Philadelphia 

Born,  Pittsburg,  1830.    Died,  Philadelphia,  1896 
Studied  with  his  father  and  in  Munich  and  Paris 
National  Academician,  1868 

167.  The  New  Knife 

10  X  13.    Dated  1866 


J.  R,  (?) 

This  portrait  by  an  unknown  monogrannst  is 
characterized  by  refinement  and  distinction  of  style, 
no  less  than  by  the  capacity  to  express  with  unaffec- 
ted naturalness  the  elusive  and  subtle  personal 
traits.  If  it  is  true  that  *'a  portrait  reflects  its 
creator  as  much  as  its  theme/'  then  this  portrait 
evidences  the  master's  hand.  In  revealing  the  per- 
sonality of  his  subject  the  artist  subordinates  all 
technical  detail,  thereby  transforming  fnr  all  time 
a  momentary  effect  into  a  living  being. 

162.  Portrait 

K5ENSETT  (John  Frederick)  New  York 

Born,  Connecticut,  1818.    Died,  New  York,  1872 
National  Academician,  1849 

163.  Hill  and  Valley,  Sunrise 

22  X  18 

KONINCK  (Philip  de)  Amsterdam 

Born,  Amsterdam,  1619.    Died,  Amsterdam,  i688 
Pupil  of  Rembrandt 


■*  height  against  gray  rolling  clouds,  was  painted 
a  and  again  by  Koninck.  His  fame  rests  on  its 
acn  tvement  rather  than  on  his  portraits  and  his- 
torical pictures.  There  is  a  surprising  truth  to 
nature  in  the  landscape;  a  breadth  of  conception 
given  always  in  color,  warm  and  clear.  His  pic- 
tures are  valuable  for  their  rarity  as  well  as  for  their 
excellence,  some  of  the  finest  being  in  the  private 
English  collections. 

164.  View  of  the  Elterberg  near  Kleef 

48%  X  38 

KBIEGHOrr  (Cornelius)  Quebec 

Born,  Dusseldorf,  1812.     Died,  Chicago,  1865 
Studied    in    Dusseldorf   and  Paris 

165.  Canadian  Winter  Scenery 

36  X  24.    Dated  1857 

166.  Landscape 

24  X  16 

LAMBDIN  (George  C.)  Philadelphia 

Born,  Pittsburg,  1830.    Died,  Thiladelphia,  1896 

Studied  with  his  father  and  in  Munich  and  Paris 

National  Aca.^  -    ;^C^talogue  Number  169. 

167.  The  New  Knife 

10  X  13.  U<i\ 


LA  TOUCHE  (Gaston)  Paris 

Born,  Saint-Cloud.  Contemporary 
Medals,  1884-88-89  E.   U.,   1900  E.  U. 
Legion  of  Honor,  1900.      Hors  Concours 
Membre  de   la   Societe  des  Artistes  frangais 

A  fascinating  color  scheme  is  here  very  fluently 
handled.  The  pure  warm  tone  is  equally  dainty  and 
decorative.  The  chest  that  gives  the  picture  its 
uame  is  delightfully  presented. 

168.  The  Lacquered  Chest 

3^V2  X  30V4. 

LAD  KENS  (Jean  Paul)  France 

Born,  Fourquevau    (Haute-Garonne)  1838. 
Pupil  of  Leon  Cogniet  and  Bida. 

Medals,  1869-72-77.      Hors  Concours 
Legion  of  Honor,  1874;    Officer,  1878;    Commander,  1900 
Membre  de  I'lnstitute,  1891. 
Membre  de  la  Societe  des  Artistes,  frangais 

To  present  ''documents  of  interest"  that  shall  be 
historically  accurate  is  the  aim  of  Laurens.  He 
holds  that  there  is  a  close  kinship  between  art  and 
history,  arguing  that  everything  which  enters  into 
and  colors  the  personality  of  a  people  belongs  in  the 
scope  of  the  artist's  labor.  His  ideal  of  fidelity, 
however,  leads  to  a  cold  dispassionate  insistence  on 
detail.  All  the  richness  of  low-toned  gold  and  red, 
of  dramatic  subject  and  surrounding  depicted  in 
the  Vengeance  of  Urban  VI.  does  not  prevent  it 
from  being  hard  and  relentless.  The  circular  walls 
of  this  subterranean  room  are  interestingly  con- 
ceived and  the  mediaeval  vestments  are  carefully 
portrayed.  Laurens  evidently  holds  with  Carlyle 
that  ''for  grown  persons  the  only  genuine  romance 
is  reality." 

169.  Vengeance  of  Urban  VI. 

LA  VERY  (John)  Glasgow 

Born,  Belfast,  1857 
Studied  in  Glasgow,  London  and  Paris 
Medals,  Paris,  1888-89.    Carnegie  Gallery,  1897 
Member  Royal  Scottish  Academy 
Societaire  de  la  Societe  Nationale  des  Beaux-Arts 

The  artistic  ability  to  rise  superior  to  a  prosaic 
environment  is  well  illustrated  when,  in  1890,  there 
emerged  from  the  smoky,  busy,  manufacturing  city 
of  Glasgow  a  group  of  men  which  had  developed  a 
style  of  painting  as  distinguished  as  it  was  individual. 
The  French  and  Dutch  Romanticists  had  been  a 
powerful  factor  in  forming  their  ideals.  The  art  of 
Japan  was  much  in  evidence  in  their  feeling  for  the 


decorative  quality  of  a  picture,  but  James  A.  McNeill 
Whistler  was  and  is  the  high  priest  of  the  order 
whose  word  is  authority.  Mr.  Lavery  is  one  of  the 
best  known  representatives  of  this  Glasgow  school. 

170.  A  Garden  in  France 

57y2  X  44% 

LAWBENCE  (Sir  Thomas)  England 

Born,  Bristol,  1769.    Died,  London,  1830. 
Painter  in  ordinary  to  George  III.,  1792.      Knighted,  1815 
Royal  Academician,   1794;     President,  1820 
Legion  of  Honor,  1825 
Member  of  the  Academy  of  St.  Luke,  Rome,  and  of  many  foreign  Academies 

Forty-three  years  of  the  rank,  the  genius  and  the 
loveliness  of  his  day  still  live  on  the  canvasses  of  Sir 
Thomas  Lawrence.  At  the  early  age  of  six  this  pre- 
cocious genius  sketched  likenesses,  by  ten  he  was  the 
main  support  of  his  family,  and  before  he  was  twelve 
he  had  portrayed  Mrs.  Siddons  and  made  his  studio 
at  Bath,  a  fashionable  resort.  Handsome,  with  a 
voice  low  and  musical,  and  of  winning  courtesy  of 
manner,  Lawrence  became  the  most  popular  as  well 
as  the  most  celebrated  painter  of  his  time.  With  his 
intense  appreciation  for  the  polite  and  well  bred,  he 
is  said  to  have  painted  "nobility  to  look  more  noble 
and  grace  to  look  more  gracious.'*  His  brush  work  is 
remarkably  facile  and  brilliant.  His  color  and  com- 
position adroit,  sparkling,  decorative,  ever  showing 
the  elegance  and  luxury  characteristic  of  contem- 
porary Europe.  After  his  death  a  selection  of  ninety- 
one  of  his  works  was  exhibited  at  the  British  Insti- 
tute. He  was  interred  with  much  pomp  in  St.  Paul's 
Cathedral,  where  he  rests  by  the  side  of  his  prede- 
cessor. Sir  Joshua  Reynolds. 

171.  Portrait  of  George  IV. 

49  X  7SV4 

LEIKEBT  (J.) 

172.  Coast  Scene  in  HoUand 

24  X  18.    Dated  1859 

LELIENBERGH  (Cornelis)  The  Hague 

Flourished  at  The  Hague  about  1650-72 
Master  of  the  Guild,  1646 
One  of  the  founders  of  the  Guild  Pictura,  1656 

This  picture  is  an  example  of  the  fine  workman- 
ship so  characteristic  of  the  Dutch  still  life  paiilters. 
Other  pictures  by  Lelienbergh  are  to  be  found  at 
The  Hague,  Berlin,  Dresden  and  Munich. 

173.  Still  Life 

15%  X  18%.    Dated  1654. 


LESSING  (Karl  Friedrich)  Carlsruhe 

Born,  Brcslau,  1808.    Died,  Carlsruhe,  1880 
Pupil  of  the  Berlin  Academy  and  of  Schadow 
Medal,  Paris,  1837 
Member  of  the  Berlin  Academy,  1832 
Director  of  the  Diisseidorf  Academy  and  of  the  Carlsruhe  Gallery 

174.  Landscape  with  Jesuit  Monks 

68  X  45 

LBXJ  (Aug^t  Wilhelm)  Diisseidorf 

Bom  Munster,  1818 
Pupil  of  Dusseldorf  Academy  under  Schirmer 
Gold  Medals  in  Berlin 
Belgian  Order  of  Leopold 
Member  Berlin,  Vienna,  Amsterdam  and  Brussels  Academies 

175.  The  Mountain  Torrent 

69  X  48 

LBUTZE  (Emanuel)  Washington 

Born,  Wurtemberg,  1816.    Died,  Washington,  1868 
Studied  in  Philadelphia  and  Dusseldorf 
National  Academician,  i860 

176.  Oliver  Cromwell  and  His  Daughter 

24  X  40    Dated  1843 

LEYS  (Baron  Henri)  Antwerp 

Born  Antwerp,  1815.    Died  Antwerp,  1869 
Pupil  of  F.  de  Braekeleer  and  of  Antwerp  Academy 

Medals,  Brussels,  1835;  Paris,  1855-67 
Order  of  Leopold,  1840;  Officer,  1856;  Commander,  1867 
Legion  of  Honor,  1862 
Member  of  the  Brussels  Academy,  1845 

"The  genius  of  Baron  Leys,  however,  is  of  so 
cliversified  a  character  that  he  can  mould  it  into  any 
form,  and  adapt  it  to  any  purpose — to  the  humorous 
or  the  pathetic,  to  the  grandeur  of  history  or  the  in- 
cidents of  ordinary  social  life;  and  his  pencil  por- 
trays, with  equal  truth,  vigor  and  delicacy,  the  art  of 
an  age  long  passed  away,  and  that  of  his  own  time/' 
— James  Dafforne. 


177.    The  Order  of  the  Guard 

28  X  2L   Dated  1867 

LHERMITTE  (Leon  Augustin)  Paris 
Born,  Mount-Saint-Pere,  1844 
Pupil  of  Lccoq  de  Boisbaudran  and  Ecole  des  Beaux  Arts 
Medals,  1874-80 
Grand  Prix,  1889,  E.  U.    Hors  Concours. 
Legion  of  Honor,  1884;  Officer,  1894 
Societaire  de  la  Socicte  Nationale  des  Beaux-Arts 

Son  of  a  village  schoolmaster,  grandson  of  one  of 
the  expert  vine-dressers  of  the  vicinity,  the  boy 
Lhermitte  was  far  better  pleased  to  be  with  his 
sturdy  grandfather  in  the  fields,  learning  of  nature, 
than  in  the  schoolroom  droning  over  his  books. 
Very  early  he  began  to  make  little  drawings  of  his 


keen  impressions,  and  a  generous  country  gentle- 
man, who  recognized  the  talent  he  displayed,  sent 
him  to  Paris  to  be  educated  as  an  artist.  With  the 
most  realistic  truthfulness  Lhermitte  has  perpetu- 
ated his  affection  for  the  rural  life  and  rustic  sub- 
jects of  his  youth,  showing  keen  powers  of  observa- 
tion, strong  draughtsmanship  and  modelling,  a  dis- 
crimination between  detail  and  over-elaboration  and 
a  knowledge  of  grouping  and  composition.  It  has 
been  said  that  upon  his  shoulders  has  fallen  the 
mantle  of  Millet. 

178.  Harvesters  at  Rest 

38%  X  29.    Dated  1894 

LOBKE  (Maurice)  Paris 

Born,  Bordeaux.  Contemporary 
Bourse  de  voyage,  1888.      Gold  Medal,  1900  E.  U. 

Legion  of  Honor 
Societaire  de  la  Societe  Nationale  des  Beaux-Arts 

The  interior  here  represented  is  rendered  with  a 
realism  which,  though  modest  and  delicate,  is  full  of 
distinction.  Both  skillful  and  subtle,  the  tone  is  just 
and  fine  throughout. 

179.  The  Private  Salon  of  Marie  Antoinette  in  Versailles 

23%  X  34% 

LOO  (Charles  Andre  Van)  (Carle  Vanloo)  France 

Born,  Nice,  1705.    Died,  Paris,  1765 
Pupil  of  his  brother,  Jean  Baptiste,  Benedetto  Luti  and  Le  Gros 
Prix  de  Rome,  1724 
Member  of  Academy  of  St.  Luke,  and  Knighted  by  the  Pope,  1731 
Member  French  Academy,  1735;  Professor,  1737;  Director  of  Royal  School 
of  Art,  1749.    Order  of  St.  Michael,  i7Si- 
Rector  of.  Academy,  1754;  Director  of  Academy  and  painter  to  the  King,  1763 

Diderot  considered  that  this  painter  in  his  early 
years  showed  "all  the  signs  of  genius."  In  the  be- 
ginning of  his  career  he  assisted  his  brother,  Jean 
Baptiste,  to  restore  the  gallery  of  Francis  I.  at  Fon- 
tainebleau,  and  also  designed  costumes  and  decora- 
tions for  the  Opera  of  Paris.  In  1727,  Van  Loo 
went  to  Rome,  where  he  executed  work  of  monu- 
mental decoration.  Returning  to  Paris  in  1737  he 
year  by  year  was  the  recipient  of  all  the  official  honors 
of  his  profession.  Van  Loo  composed  his  pictures 
with  taste  and  judgment,  criticising  each  work  with 
a  severe  and  impartial  eye.  One,  of  which  he  disap- 
proved, was  totally  destroyed  although  it  had  been 
publicly  exhibited  at  the  Louvre. 

180.  Portrait  of  an  Abbe 

3878  X  48% 


IvHERMlTl'E 

HARVESTERS  AT  REST 


r8i  i^d'muVl'liJBofKJi^  '  "  Catalogue  Number  178. 


LoRiM^R  (John  Henry) 
THE  ELEVENTH  HOUR 


LOBIMEB  (John  Henry)  '  London 

Born,  Edinburg,  1856. 
Pupil  of  the  Royal  Scottish  Academy 
Medals,  1892-96-98.    Gold  Medal,  E.  U.,  1900 
^  Hors  Concours 

It  was  for  this  picture,  with  its  delicately  diffused 
light  and  tone,  that  Mr.  Lorimer  received  the  gold 
medal  at  the  Exposition  Universelle.  In  1894  the 
French  Government  purchased  two  of  his  pictures 
for  the  collection  of  paintings  now  at  the  Luxem- 
bourg Palace  in  Paris. 

181.  The  Eleventh  Hour 

71  X  47%. 

MAC-CAMERON  (Robert)  Paris 

Born,   Chicago.  Contemporary 

Pupil  of  Raphael  Collin 
Honorable  Mention.      Medal,  1906 

Mac  Cameron  has  selected  a  dominant  and  char- 
acteristic subject,  placed  it  in  a  Rembrandtesque  at- 
mosphere of  golden  light  and  presented  it  with 
marked  strength  and  virility.  Note  the  one  rich 
effective  touch  of  red  in  the  scheme  of  green  and 
gold.  This  development  of  a  phase  of  life  in  itself 
commonplace  recalls  Ibsen's  declaration  that  ''re- 
ality is  itself  a  creation  of  art — ^each  individual  cre- 
ates his  picture  of  the  world." 

182.  The  Habitues 

6578  X  49 14 

MACRINO  d'ALBA  (Giovanni  Jacopo  Fava)  Italy 

Born,  Alba.    Flourished  about  1500  and  died  prior  to  1528 
Probably  studied  at  Milan 
Piedmontese  School 

In  this  Triptych  are  found  accentuated  the  vigor 
and  fertile  invention  characteristic  of  this  skillful 
Italian  painter.  Charles  C.  Perkins  states  that  Ma- 
crino  d'Alba  was  "an  excellent  painter,  of  great  ex- 
pressiveness in  his  countenances,  brilliant  coloring, 
masterly  treatment  of  details,  fine  feeling  for  chia- 
roscuro, and  solid  impasto;  the  first  Piedmontese 
artist  who  made  advances  towards  the  realistic  style 
of  the  Paduans." 

183.  An  Altar  Piece 

Three  panels,  54  x  18%  each 

MARATTI  (Maratta)  (Carlo)  Cavaliere  Italy 

Born,  Camerano,  1625.    Died,  Rome.  1713 
Pupil  of  Andrea  Sacchi 
Appointed  by  Innocent  XII.  superintendent  of  the  paintings  in  the  Vatican 
Order  of  Christ  conferred  by  Clement  XI. 
Prince  of  the  Academy  of  St.  Luke 
Roman  School 


The  enviable  reputation  of  having  '^sustained  the 
art  of  Rome,  where  it  did  not  degenerate  as  at  other 
places/'  was  accorded  by  Raphael  Mengs  to  this 
painter.  Through  his  master  Sacchi's  influence.  Ma- 
ratti  obtained  his  first  large  commission.  Later  he 
executed  many  other  works  for  churches  and 
public  buildings  becoming  one  of  the  most  popular 
painters  of  Rome.  Clement  XL  selected  him  to  re- 
store the  frescoes  of  Raphael.  "A  task  requiring 
infinite  care  and  judgment,  and  which  he  per- 
formed to  the  satisfaction  of  his  patron,''  com- 
ments Bellori.  The  painting  of  Maratti  is  graceful, 
broad  and  firm,  and  is  suggestive  of  much  that  is 
attractive  in  the  various  Italian  schools. 

184.  Christ  and  Mary  Magdalen 

25  X  19 

MARIESCHI  (Michele)  Italy 

Bom  Venice.    Died  1743 

Although  a  Venetian^  Marieschi  lived  for  many 
years  in  Germany.  His  reputation  rests  mainly  on 
his  reproductions  of  the  architecture  and  canals  of 
Venice.  The  palaces  of  this  queenly  city,  its  canals 
with  gliding  gondolas  and  beautiful  bridges,  were 
his  delight,  as  they  have  been  the  joy  of  artists  since 
his  day. 

185.  View  of  the  Grand  Canal,  Venice 

331/4  X  211/4 

MABILTTAT  (Prosper)  France 

Born,  Vertaizon,  near  Thiers  (fay-de-Dome)  181 1.    Died  there,  1847. 
Pupil  of  Roqueplan. 

During  several  years  residence  in  the  East  Maril- 
hat  thoroughly  absorbed  its  color  and  atmosphere. 
This  picture,  a  powerful  scheme  of  subdued  color,  is 
painted  with  a  serene  breadth  and  vigor  of  handling. 
The  manipulation  of  paint  is  allied  to  technical  ex- 
pression in  music  and  the  methods  of  such  a  picture 
as  this  recall  a  remark  of  Rousseau  to  a  friend  who 
was  watching  him  while  at  work.  "It  seems  to  you 
that  I  am  only  caressing  my  picture  does  it  not? 
These  accents  are  to  painting  what  melody  is  to 
harmonic  bass  and  they  determine  everything, 
either  victory  or  defeat." 

186.  Oriental  Lemdscape 

44V2  X  34^ 

MABTIN  (W.  A.  K.)  Philadelphia 

187.  Bruce  Defending  the  Pass  at  Dalrey 

36  X  30.    Dated  1853 


MARZIALE  (Marco)  Italy 

Flourished  in  the  beginning  of  the  i6th  Century 
Follower  of  Carpaccio  and  later  an  imitator  of  Albert  Durer 
Venetian  School 

Very  few  circumstances  are  recorded  regarding 
the  life  of  this  painter.  It  is  noteworthy  that  in  1492 
he  was  employed  by  Giovanni  Bellini  as  journeyman 
during  the  decoration  of  the  Hall  of  the  Great  Coun- 
cil in  the  Venetian  Palazzo  Ducale.  Pictures  by 
Marziale  in  the  Venice  Academy  and  in  the  Berlin 
Museum  suggest  the  arrangement  of  Carpaccio  with 
a  strong  leaning  towards  the  minute  details  of  the 
German  school.  TwO'  other  fine  examples  of  his  art 
are  in  the  National  Gallery  at  London. 

188.    Christ  at  the  Pilgrim's  Table 

42%  X  29% 


MATJREIl  (Alfred  H.)  New  York 

Born,  America.  Contemporary. 
George  Inness,  Jr.  Prize  N.  A.  D.    First  Prize,  Worcester  Art  Museum 
Bronze  Medal,  Pan-American  Exposition 
Associe  de  la  Societe  Nationale  des  Beaux-Arts 

Individualism  has  become  a  keynote  in  modem 
work.  "Art  is  a  personal  rethinking  of  life/'  states 
the  modern  writer  and  critic,  George  Moore.  A 
picture  executed  with  the  swift  and  sure  touch  of 
a  happy  moment,  is  very  characteristic  of  Mr. 
Maurer.  It  is  in  this  broad,  flat,  yet  dexterous 
treatment  that  he  finds  his  most  forcible  technical 
expression. 

189.    The  Peacock 

32Mj  X  36 


MAX  (Gabriel)  Munich 

Born,  Prague,  1840 
Pupil  of  the  Prague  and  Vienna  Academies  and  of  Piloty 
Gold  Medals,  Berlin,  Munich,  Vienna  and  Sydney- 
Honorary  Member  of  Munich,  Prague  and  Amsterdam  Academies 
Chevalier  of  the  Bavarian  Order  of  St.  Michael,  Maximilian's  Order  of  Arts 
and  Sciences  and  of  Spanish  Order  of  Carlo  III. 

A  man  of  highly  sensitive  organization,  his  earlier 
works  were  efforts  to  give  pictorial  form  to  musical 
impressions  received  from  the  art  of  Beethoven, 
Schumann,  Mendelssohn,  Liszt,  and  from  old  melo- 
dies and  hymns.  These  proved  rather  incomprehen- 
sible and  full  of  strange  imagination  but  were  very 
interesting  and  inventive.  Later  in  color  harmony 
this  sensitive  individuality  found  expression. 

190.    LudmiHa,  Martyr  to  Religious  Taith 
39  X  35.    Dated  1864 


MAXENCE  (Edgard  H.  M.  A.)  Paris 

Born,  Nantes.  Contemporary 
Pupil  of  Delaunay  and  M.  G.  Moreau 

Medal,  1895-97-1900,  E.  U.      Hors  Concours 

Legion  of  Honor,  1900 
Membre  de  la  Societe  des  Artistes  frangais 

This  picture  is  a  striking  piece  of  decoration 
given  in  beautiful  prismatic  color.  The  management 
of  the  background  is  well  judged  and  the  drawing 
is  accurate^  if  somewhat  constrained. 

191.  Sirene 

50  X  32% 

MAZO  (Juan  Bautista  Martinez  del)  Spain 

Born,  Madrid,  about  1610.    Died,  Madrid,  1667. 
Pupil  of  Velasquez 
Painter  to  the  King,  1661 

Velasquez  thought  so  highly  of  his  pupil  and  as- 
sistant, that  he  gave  him  in  marriage  his  only  daugh- 
ter, Francesco.  At  the  request  of  Philip  IV.,  Mazo 
made  copies  of  the  finest  Venetian  pictures  in  the 
royal  collection,  executing  these  in  so  masterly  a 
manner  that  it  was  difficult  to  distinguish  the  copies 
from  the  originals.  He  also  followed  the  individ- 
ualities of  his  master  with  marked  facility.  Like  Ve- 
lasquez, Mazo  was  a  realist,  recording  the  actual 
without  emendation.  In  this  ''Portrait  of  a  Marshal" 
the  vigorous,  solid  substance  of  form,  from  which 
the  detailed  painting  of  the  brocaded  costume  does 
not  detract,  the  effective  touches  of  black  and  red  in 
their  proper  relations,  the  breadth  of  treatment  and 
the  truth  all  show  a  worthy  pupil  of  a  great  master. 

192.  Portrait  of  a  Marshal 

45%  X  80% 

MEISSONIER  (Jean  Charles)  Paris 

Born,  Paris 
Pupil  of  his  father,  Ernest  Meissonier 

Medal,  1866-89,  E.  U.      Hors  Concours 
Legion  of  Honor,  1889. 

193.  The  Repast 

24  X  29 

MEYER  (Johann  Georg)  (Meyer  von  Bremen)  Berlin 

Born,  Bremen,  1813.    Died,  1886 
Pupi!  of  Diisseldorf  Academy 
Medals,  Prussia,  1850;  Berlin  and  Philadelphia,  1876 
Order  of  Leopold 
Member  of  the  Amsterdam  Academy 

From  early  youth  an  indefatigable  worker.  It  is 
said  that  eleven  hundred  pictures  left  his  easel,  a 
proof  of  the  application  of  the  motto  placed  in  his 


studio,  **Make  the  best  use  of  your  time;  it  never 
returns/' 

194.  Will  you  Buy  My  Flowers 

i6  X  20V4, 

MICHEL  (Georges)  France 

Born,  1763.    Died,  1843 

195.  Landscape  and  Figures 

2978  X  191/2 

MICHETTI  (Francesco  Paolo)  Italy 

Born,  Chieti,  1852 
Studied  in  Naples,  Paris  and  London 
Medals,  Rome,  Turin,  Florence  and  Parma 
Chevalier  of  the  Order  of  the  Crown  of  Italy. 

In  the  northern  part  of  Italy  bordered  by  the 
Adriatic  there  is  a  wild  and  picturesque  region  sel- 
dom visited  by  tourists.  Within  a  few  miles  are  the 
beauties  of  sea,  lake,  forest,  and  of  rivers  that  rush 
down  the  mountains  to  the  plains.  During  the 
winter  season  the  shepherds,  earning  their  way  by 
minstrel  songs,  come  down  from  these  mountains, 
and  often  wander  as  far  as  Rome  or  Naples.  ''The 
Serenade"  shows  a  characteristic  incident  of  the 
picturesque  nomadic  life  surrounding  the  home  of 
Michetti  in  Francavilla,  close  to  the  Adriatic.  The 
joyful,  care-free  gaiety  of  the  people  is  portrayed 
against  a  background  of  equal  brilliancy. 

196.  The  Serenade 

^yVs  X  40 

MIEKEVELT  (Michiel  Janazen  Van)  Holland 

Born,  Delft,  1567.    Died,  Delft,  1641. 
Pupil  of  William  Willemsy,  Augustyn  and  of  Blockland 
Entered  the  Guild  of  The  Hague,  162s 

Earliest  among  the  founders  of  the  great  Dutch 
school  of  portraiture  was  Mierevelt.  Although  he 
painted  a  few  historical  pictures  and  altar  pieces  for 
the  churches  at  Delft,  yet  the  devotion  of  his  long  lif,e 
was  given  to  that  branch  of  his  art  for  which  he  is 
famous.  In  his  day  the  portraits  of  Mierevelt  were 
universally  admired,  the  demand  and  his  accomplish- 
ment being  equally  great.  Houbraken  estimates  his 
completed  pictures  at  five  thousand.  Others  swell  the 
list  to  ten  thousand.  His  style  of  portraiture,  al- 
ways dignified  and  concentrated  shows  both  by  the 
elegance  of  his  accessories  and  the  rank  of  his  sub- 
jects, the  artist's  partiality  for  aristocracy.  In  his 
portraits  may  always  be  noticed  a  smooth  and  some- 
what reserved  brushwork  together  with  fine  draw- 
ing and  characterization. 

197.  Portrait  of  a  Nobleman 

23^4  X  29 


HIIjLET  (Jean  Francois)  France 

Born,  Greville,  1814.      Died,  Barbizon,  1875 
Studied  in  Cherbourg  and  in  Paris  with  Delarochc 
Medals  1853-64-67. 
Legion  of  Honor,  1868 

"I  have  met  a  child  whose  soul  is  as  charming 
as  poesy  itself/'  was  said  of  Millet  when  a  little  lad. 
George  Moore  describes  this  master  as  a  great  poet, 
working  in  a  material  not  wholly  sympathetic,  "a 
sort  of  French  Wordsworth,  who  in  a  barbarous 
Breton  dialect  has  told  us  in  infinitely  touching 
strains  of  the  noble  submission  of  the  peasant's  lot, 
his  unending  labours  and  the  melancholy  solitude 
of  the  country."  The  gay  side  of  life  never  shows 
itself  to  me/'  wrote  Millet  of  his  work.  "I  do  not 
know  where  it  is.  The  gayest  thing  I  know  is  the 
calm,  the  silence  which  is  so  sweet  both  in  the 
forest  and  in  the  fields."  In  this  picture  ''Soli- 
tude/' another  fine  example  of  his  work,  has  been 
added  to  the  art  collections  of  this  country.  Gifted 
with  a  great  soul,  a  deep  insight.  Millet  was  virtu- 
ally the  discoverer  of  the  peasant  in  his  environ- 
ment as  a  picture  subject.  Here,  he  said,  is  true  hu- 
manity and  great  poetry.  Living  himself  in  pov- 
erty and  dying  almost  destitute  in  a  laborer's  cot- 
tage he  might  have  echoed  the  sentiment  of  Agassiz, 
when  the  far-sighted  scientist  declared  that  he  had 
no  time  to  make  money.  The  great  joy  of  the  poet 
painter  was  his  ability  to  understand  the  life  about 
him;  his  supreme  achievement  was  that  he  inter- 
preted this  so  that  others  less  sympathetic  entered 
into  his  joy. 
198.  Solitude 

43V2  X  33>4 

MOEKENHOXJT  (Joseph  Jodocus)  Antwerp 
Born  near  Antwerp,  1801 
Studied  at  Antwerp  and  Paris 

100.   Keturn  from  the  Chase 

28  X  21.    Dated  1854 

MOESELAGEB  (C.) 

200.    Youthful  Vanity- 
is  X  18.    Dated  1861 

MOLENAEB  (Jan  Miense)  Haarlem 
Born,  Haarlem.    Died,  Haarlem,  1668 

The  fine  examples  of  Molenaer's  earlier  work  now 
at  Amsterdam  and  London  show  distinct  evidence 
that  he  was  a  warm  admirer  and  possibly  a  pupil  of 
Frans  Hals.    Those  of  a  later  date  at  The  Hague, 


in  Berlin,  Brussels  and  Copenhagen  are  dominated 
by  the  all-powerful  example  of  Rembrandt,  the 
great  master  of  light.  Molenaer  chose  peasant  life 
for  his  theme,  painting  it  in  a  deft  and  easy  manner, 
with  color  that  was  always  clear  and  warm. 

201.  The  Drunken  Peddler 

27%  X  24 

MONTICELLI  (Adolphe)  Paris 

Born,  Marseilles,  1824.   Died,  Marseilles,  1886 
Pupil  of  Ecole  des  Beaux-Arts 

'The  presentations  of  a  singular  harmonic  tem- 
perament," writes  Stranahan.  *They  have  afforded 
to  the  painters  of  pure  sensations,  and  the  lovers  of 
color,  the  highest  note  in  their  key  an  extreme  illus- 
tration which  merits  consideration.''  Paul  Guigon 
says:  **A  happy  instinct  teaches  him  the  mysterious 
affinity  between  certain  colors  and  certain  emotions. 
As  a  colorist  he  ranks  with  the  Venetians,  and  in  his 
finer  efforts  has  a  witchery,  a  mastery,  a  glow  which 
belongs  to  few  other  painters  of  his  time." 

202.  The  Boating  Party 

301/2  X  i8y4 

MOBALES  (Luis  de)  Spain 

Born,  Badajoz,  about  1509.    Died,  Badajoz,  1586 
Studied  probably  in  Toledo  or  Valladolid 

From  an  unwavering  choice  of  religious  subjects 
for  his  pictures  which  bore  always  the  imprint  of  the 
painter's  ardent  piety.  Morales  was  called  El  Divino 
(The  Divine).  There  are  but  few  instances  of  his 
drawing  the  figure  at  length;  he  painted  mainly 
heads  of  a  pathetic  and  emotional  character.  *'His 
works,"  says  Charles  C.  Perkins, ''show  careful  draw- 
ing, correct  anatomy,  and  fine  gradation  of  demi- 
tints,  and  his  heads  are  finished  with  the  fastidious 
care  of  the  early  Florentine  masters."  Morales' 
pictures  are  principally  found  in  the  churches  and 
oratories  of  Spain. 

203.  Christ  Bearing  the  Cross 

28^/4  X  37 

MORAN  (Edward)  New  York 

Born,  England,  1829 
Studied  in  Philadelphia  and  in  London. 
Elected  A.  N.  A.  in  1873 
Member  of  the  Pennsylvania  Academy  of  Fine  Arts 

204.  Castle  Garden,  New  York 

46  X  25 


MORAN  (Thomas)  New  York 

Born,  England,  1837 
Pupil  of  his  brother,  Edward  Moran 
National  Academician,  1884 
Member  of  the  Society  of  American  Artists 
Member  of  the  Pennsylvania  Academy  of  Fine  Arts 

205.  The  First  Ship— St.  Salvador 

46  X  23.    Dated  1855 

MOBONI  (Giovanni  Battista)  Italy 

Born,  Bondo,  Province  of  Bergamo,  1520  or  1525.    Died,  Brescia,  1578 
Pupil  of  Moretto 
Venetian  School 

But  little  knowledge  of  this  master  has  reached 
us  through  the  lapse  of  centuries,  although  he  was 
accounted  a  brilliant  painter  even  during  his  life- 
time. Titian  pronounced  the  portraits  of  Moroni  to 
be  'living/'  and  so  greatly  admired  his  work  that 
when  the  magnates  of  the  province  of  Bergamo,  in 
which  Moroni  livedo  desired  to  have  a  portrait 
painted  by  the  great  Venetian,  he  advised  them  to 
apply  to  their  fellow-citizen,  Moroni.  In  the  cele- 
brated galleries  of  London,  Dresden,  Berlin,  Milan, 
Florence,  Madrid,  St.  Petersburg  and  Vienna,  these 
portraits  are  now  highly  prized  and  much  admired 
for  their  truthful  animated  individuality  and  admir- 
able color  as  well  as  for  their  modern  spirit  and  treat- 
ment. 

206.  Portrait 

39%  X  48% 

MOKKICE  (James  Wilson)  Paris 
Born,  Montreal.  Contemporary 

Societaire  de  la  Societe  Nationale  des  Beaux-Arts 

The  sea-coast  is  a  motive  in  which  Morrice  seems 
thoroughly  at  home.  The  characteristic  cloud  effects 
and  the  general  suggestion  of  the  salt  damp  sea-air 
are  the  result  of  careful  observation  and  appreciation 
of  nature. 

207.  The  Shore  at  Parame 

MUENIER  (Jules  Alexis)  Paris 

Born,  Vesoul.  Contemporary 
Medal,  1887,  1900,  E.  U.      Hors  Concours 

Legion  of  Honor,  1889 
Membre  de  la  Societe  des  Artistes  frangais 
Societaire  de  la  Societe  Nationale  des  Beaux-Arts 

Grace  and  distinction  are  given  to  this  subject 
selected  by  M.  Muenier  by  the  calm  effect  of  light, 
the  transparency  of  the  atmosphere,  the  mellowness 
and  harmony  of  the  color. 

208.  Entrance  of  Village 

26  X  21% 


Moroni  (Giovanni  Battista) 
PORTRAIT 


Catalogue  Number  206. 


MuNKAcsv  (Michael  de) 
THE  LAST  DAY  OF  THE  COXDEMxNED 


Catalogrue  Number  mu. 


1 


MUNKACSY  (Michael  de)  Paris 

Born,   Munkacs,   Hungary.    Died,   Bonn,  1900 
Studied  in  Vienna,  Munich  and  Diisseldorf 
Medals,  Paris,  1870-74-78  E.  U.;  Vienna,  1882 
Legion  of  Honor,  1877;  Officer,  1878 
Member  of  the  Munich  Academy,  1881 
Created  an  Austrian  Baron,  1882 
Member  of  the  Austrian  Order,  Litteres  et  Artebus,  1887 

Orphaned,  self-educated  and  extremely  poor,  Mun- 
kacsy's  apprenticeship  to  art  was  on,e  of  continuous 
struggle,  first  in  Hungary  and  then  in  Germany, 
where  a  disease  of  the  eyes  forced  him  to  spend  six 
months  in  a  hospital  and  threatened  him  with  total 
blindness.  During  this  time  the  brave  young  student, 
nothing  daunted,  dreamed  of  and  planned  for  the 
picture  here  exhibited,  which  he  considered  his  mas- 
terpiece. It  illustrates  an  Hungarian  custom.  A  con- 
demned prisoner  on  the  day  before  his  execution  is 
visited  by  his  townspeople,  who  come  either  out  of 
curiosity  or  to  bring  a  contribution  towards  a  mass 
for  the  criminal's  soul.  After  regaining  the  use  of 
his  eyes,  the  picture  was  commenced,  notwithstand- 
ing the  fact  that  every  on,e  advised  the  young  man 
to  go  back  to  his  trade,  that  of  a  carpenter,  the  ob- 
stacles to  his  artistic  career  seeming  insurmountable. 
When  the  picture  (which  was  painted  on  the  back  of 
an  old  pew)  was  half  finished,  pov,erty  prevented  him 
from  obtaining  the  paint  necessary  to  its  completion. 
At  this  crisis  the  collector  of  these  pictures,  Mr.  Wil- 
stach,  visited  Munkacsy's  studio  and  instantly  recog- 
nized his  genius.  He  purchased  the  picture,  and 
when  finished  sent  it  to  the  Paris  Salon,  where  its 
recognition  as  a  work  of  extraordinary  merit  was 
instantaneous.  Rarely  has  so  sharp  a  contrast 
occurred  in  a  human  life  as  then  followed,  for  repu- 
tation and  wealth  came  rapidly,  and  first  Paris  and 
then  the  world  delighted  to  honor  this  vigorous, 
intense  and  powerfully  dramatic  painter. 

209.  An  Ideal  Head 

SVs  X  61/2 

210.  An  Ideal  Head 

5%  X  61/2 

211.  The  Last  Day  of  the  Condemned 

73%  X  54 

MURILLO  (Bartolome  Esteban)  SevUle 

Born,  Seville,  1618.    Died,  Seville,  1682 

Pupil  of  his  uncle,  Juan  del  Castillo 
Founded  the  Seville  Academy  of  Art,  1660 

There  were  several  years  in  the  life  of  Murillo, 
who  ranks  second  only  to  Velasques  in  the  history 


of  Spanish  art,  that  were  years  of  struggle  for  mere 
existence.  Unknown  and  of  a  retiring  disposition, 
his  only  resource  was  to  take  his  pictures  to  the 
weekly  market  at  Seville.  Here,  surrounded  by 
provision  stalls,  standing  among  gypsies,  muleteers 
and  dealers  in  old  clothes,  he  found  his  first  patrons. 
Many  of  these  pictures  were  brought  to  the  Spanish 
possessions  in  America.  In  1643,  with  a  little  money 
but  with  indomitable  courage,  he  travelled  on  foot 
across  the  Sierras  to  Madrid.  Arriving  without 
money  or  friends,  he  appealed  to  his  fellow-towns- 
man, Velasques.  Velasques  took  the  young  man  into 
his  own  home  and  gave  him  valuable  counsel  and 
guidance.  In  1645,  Murillo  returned  to  Seville  and 
began  a  new  era  in  his  life  by  his  decoration  of  the 
cloister  of  the  Franciscan  Convent.  He  was  now 
welcomed  by  the  most  .exclusive  society  and  was  re- 
warded with  the  love  and  veneration  of  the  people. 
His  early  work  was  chiefly  of  humble  contemporary 
life,  given  in  a  forcible  but  rather  hard  style.  Later 
he  painted  religious  subjects  exclusively,  presenting 
the  hope  and  faith  of  the  people  in  a  manner  that 
was  tender,  graceful,  refined  and  elevated.  In  the 
Louvre  may  be  seen  a  fine  example  of  the  art  which 
won  for  him  the  title  of  ''Painter  of  the  Conception.'* 

212.  Christ  Bearing  the  Cross 

83  X  60 

213.  Diana  Asleep 

SSV2  X  58% 

214.  St.  Anthony 

37V4.  X 

NEEFFS  (Peeter  the  elder)  Antwerp 

Born,  probably  in  Antwerp  between  1578  and  1582.    Died,  Antwerp,  i6s6» 
Pupil  of  Hendrik  van  Steenwyck,  the  elder 
Entered  Antwerp  Guild,  1609 

"An  unrivalled  painter  of  church  interiors/'  writes 
Charles  C.  Perkins,  corresponding  member  of  the 
French  Institute/This  painterhad  great  knowledge 
of  aerial  and  linear  perspective,  and  was  very  skilful 
in  distributing  the  ef¥ects  of  light."  The  figures 
introduced  into  his  pictures  were  generally  painted 
by  Frans  Francken  III.,  Teniers,  Brueghel  or  Van 
Thulden. 

215.  A  Church  Interior 

34li  X  23-34 


!or  mere 
.u4)osition, 
iires  to  the 
0.    iiere,  surrounded  by 
......    V.    ,  .         ..^  among  gypsies,  muleteers 

and  dealers  in  old  clothes,  he  found  his  first  patrons. 
Many  of  these  pictures  were  brought  to  the  Spanish 
possessions  in  America.  In  1643,  with  a  little  money 
but  with  indomitable  courage,  he  travelled  on  foot 
across  the  Sierras  to  Madrid.    Arriving  without 
money  or  friends,  he  appealed  to  his  fellow-towns- 
man, Velasques.   Velasques  took  the  young  man  into 
his  own  home  and  gave  him  valuable  counsel  and 
guidance.   In  1645,  Murillo  returned  to  Seville  and 
;;an  a  new  era  in  his  life  by  his  decoration  of  the 
ister  of  the  Franciscan  Convent.    He  was  now 
dcomed  by  the  most  exclusive  society  and  was  re- 
varded  with  the  love  and  veneration  of  the  people. 
His  early  work  was  cl  contemporary 
•      ■  '     *'  '  «rd  style.  Later 

vely,  presenting 
manner  that 
ited.    In  the 
le  art  which 
onception." 


..thony 

"^d  Antwerp 
1582.    Died,  Antwerp,  1656. 

.;  \an  :>ieciiA'yck,  the  elder 
.  Antwerp  Guild,  1609 

**An  unrivalled  paints*  of  church  interiors,"  writes 
Charles  C.  Perkins^  corresponding  member  of  the 
French  Institute/'This  painterhad  great  knowledge 
of  aerial  and  linear  perspective,  and  was  very  skilful 
in  distributing  the  effects  of  light."  The  figures 
introduced  into  his  pictures  were  generally  painted 
by  Frans  Francken  III.,  Teniers,  Brueghel  or  Van 

'  nlden., 

.   «^        t-  *   ^     .  '  Catalogue  Num 

A  Church  Interior 


NEER  (Aart  Van  Der)  Amsterdam 

Born,  Amsterdam,  1603.    Died,  1677 

Bryan  states  that  Aart  van  der  Neer  ''excelled  in 
painting  views  in  Holkjid  by  moonlight,  represent- 
ing groups  of  cottages  or  fishermen's  huts  on  the 
banks  of  a  river  or  canal  with  boats  and  figures. 
The  moon,  risen  in  clouded  majesty  or  from  her 
lustrous  heights,  sheds  her  silvery  beams  on  every 
object,  and  their  light,  reflected  by  the  respondent 
glittering  of  the  water,  produces  the  most  fascinat- 
ing and  picturesque  effect.  Van  der  Neer  was  a 
perfect  master  of  the  chiaroscuro." 

216.  Landscape 

383/8  X  39% 

217.  Moonrise 

38%  X  38y2 

NITTIS  (Guiseppe  de)  Italy 

Born,  near  Naples,  1846,     Died,  Paris,  1884 
Studied  in  Naples  and  Paris 
Medals,  1876-78 
Legion  of  Honor,  1878 

In  certain  details  De  Nittis  was  a  precursor  of  the 
impressionistic  movement  in  France.  Emile  Ble- 
mont  characterizes  him  as  ''Impressionist  in  concep- 
tion, harmonist  in  execution;"  then  adds  "the  unity 
of  the  work  comes  from  the  unity  of  the  idea." 
Neapolitan  by  birth,  Parisian  by  affiliation,  de  Nit- 
tis delighted  in  the  gay  splendor  of  Paris  and  gave 
to  it  appropriately  felicitious  expression.  Not  only 
Paris  but  London,  with  its  interesting  atmospheric 
aspect,  found  an  interpreter  in  De  Nittis,  who 
studied  its  fogs  and  changing  lights  with  delightful 
accuracy  of  vision  and  truth  of  expression. 

218.  Return  from  the  Kaces 

4SV4  X  23V4 

OBLEY  (Bemaert  van)  Brussels 

Born,  Brussels  about  1491-92.    Died,  Brussels,  1542 
Pupil  of  his  father,  Valcntyn  van  Orley 
Court-painter  to  Margaret  and  Mary,  Regents  of  the  Netherlands,  1524-3$ 
Court-painter  to  Emperor  Charles  V. 

The  close  commercial  relations  which  existed  in 
the  1 6th  century  between  the  Low  Countries  and 
Italy  tended  to  lessen  the  national  influences  in  the 
art  of  the  former  and  led,  as  a  direct  consequence,  to 
an  imitation  of  the  Italian  Renaissance  painters. 
Orley  seems  to  have  gone  early  to  Rome 
where  he  was  possibly  instructed  by  Raphael,  cer- 
tainly became  his  very  successful  follower.    He  was 


requested  to  superintend  th,e  manufacture  of  the  tap- 
estries in  the  Vatican  designed  by  Raphael  for  Leo 
X.  and  was  employed  in  finishing  many  of  the 
grand  compositions  of  that  inimitable  master.  Re- 
turning to  Brussels  with  a  distinguished  reputation 
Orley  painted  many  religious  pictures  in  a  style 
careful  and  sincere.  The  brilliant  tone  of  color  that 
he  attained  is  attributed  to  the  supposed  use  of  a 
gold  ground. 

219.  Adoration  of  the  Magii 

[Triptych]  31%  x  49>4.    Wings,  14  x  51. 

OTTER  (Thomas)  Philadelphia 

220.  Moonlight 

47  X  26.    Dated  i860 

PALAMEDES  (Antonis,  surnamed  Stevaerts)  Holland 

Born,  Delft,  1601.    Died,  Delft,  1673-74 
Influenced  by  Mierevelt  and  Frans  Hals 
Member  of  Guild  of  Delft,  1621 

The  charm  and  dignity  of  young  womanhood  is 
rendered  in  the  picture  here  exhibited  with  that 
keen  insight  and  truth  for  which  Palamedes  is  emi- 
nent. With  delicate  accuracy  of  draughtsmanship, 
with  purity  of  tone  and  well  balanced  unity  of  eflfect, 
the  portrait  lives  on  the  canvas.  "Painting  is  nature 
seen  through  the  prism  of  an  emotion,"  writes 
Alfred  Stevens.  In  genre  work,  Palamedes  shows 
the  influence  of  Dirk  Hals,  a  brother  and  pupil  of 
Frans  Hals,  the  master. 
221     Portrait  of  a  Lady 

PABMIGIANINO  (Parmigiano,  II)  (Francesco  Mazzola)  Italy 

Born,  Parma,  1504.    Died,  Casal  Maggiore,  1540 
Pupil  of  his  brother,  Michele  and  Pierilario 
Lombard  School 

The  uselessness  of  the  tragic  end  of  Parmigianino's 
career  is  the  more  deplorable  because  of  his  brilliant 
ability.  An  idea  of  his  exceptional  power  of  mental 
concentration  is  found  in  an  incident  which  occurred 
during  the  memorable  sacking  of  Rome  in  1527. 
Padre  Afifo  relates  that  while  the  walls  were  scaled 
and  the  city  taken  by  the  invaders,  Parmigianino  con- 
tinued his  painting,  **paying  no  attention  to  the  roar 
of  the  artillery,  the  tumult  of  the  people,  or  the  shouts 
of  the  military.*'  Fortunately  the  leader  of  the  law- 
less men  who  invaded  his  house  ''happened  to  be  an 
amateur  of  painting,"  and  *'  contented  himself  by 
only  requiring  him  to  execute  a  good  number  of 
drawings.*'    Unfortunately  an  infatuation  for  the 


cture  of  the  tap- 
Raphael  for  Leo 
g  many  of  the 
ble  master.  Re- 
^  iished  reputation 
pictures  in  a  style 
)t  tone  of  color  that 


OTTEB  (Thoiu:  Philadelphia 
220.  Moonlight 

i860 

PALAMEDES  (Antoiub,  sl  .     lacu  Stevaerts)  Holland 
Born,  Delft.  1601.    Died,  Delft,  1673-74 
Infiucnccd  by  Micrevelt  and  Frans  Hals 
Membtr  of  Guild  of  Delft,  1621 

and  dignity  of  young  womanhood  is 
he  picture  •  '  ibited  with  that 

and  trutl)  '  ;  alamedes  is  emi- 

ih  delicate  jf  draughtsmanship, 

-ii  balanced  unity  of  effect, 
Palamedks  (Asro^is,^m^MtD^§il^m^  ^^^^^e 
^•>^i^"t:pORTaAtt  OP^A-tADY'^^^^^^'  writes 

s.    In  genre  work,  ralamedes  shows'  * 
^  Dirk  Hals,  a  brother  and  pupil  of 
•  er. 


26%  X  32V2 

FA»M:i<>lANrN0  (Parmigiano,  II)  (Francesco  Mazzola)  Italy 

I*arma,  1504.    Died,  Casal  Maggiore,  1540 
f  his  brother,  Michele  and  Pierilario 
Lombard  School 

i  he  useicssness  of  the  tragic  end  of  Parmigianino's 
career  is  the  more  deplorable  because  of  his  brilliant 
ability.   An  idea  of  his  exceptional  power  of  mental 
t  ration  '  I  in  an  incident  which  occurred 

*hv  r\      ^.>le  sacking  of  Rome  in  1527. 

lates  that  while  the  walls  were  scaled 
Liiy  taken  by  the  invaders,  Parmigianino  con- 
.  ;    i  his  painting,  ^'paying  no  attention  to  the  roar 
of  the  artillery,  the  tumult  of  the  people,  or  the  shouts 
'itary."    Fortunately  the  leader  of  the  law- 
/vho  invaded  his  house  ^'happened  to  be  an 
amateur  of  painting/*  and  "  contented  himself  by 
only  requiring  him  to  execute  a  good  numl^er  of 
drawings."    Unfortunately  an  infatuation  fjJfJofTfeNumbcr 


I 


study  of  alchemy  led  Parmigianino  to  waste  his  time 
and  health  in  a  search  for  the  philosopher's  stone, 
that  dangerous  reef  to  the  mediaeval  world  of  science. 
In  consequence  of  these  researches  a  breach  of  con- 
tract occurred  and  he  was  thrown  into  prison.  On 
promise  of  completing  the  desired  fresco  he  was  re- 
leased, only  to  die  shortly  after.  Sir  Joshua  Rey- 
nolds comments :  "We  are  at  a  loss  which  to  admire 
most,  the  correctness  of  drawing  or  the  grandeur  of 
the  conception." 

222.  Circumcision 

62y2  X  94% 

PEALE  (Rembrandt)  Philadelphia 

Born,  Pennsylvania,  1787.    Died,  Philadelphia,  i860 
Pupil  of  Benjamin  West. 

223.  Colossal  Portrait  of  Washington 

28  X  30.    After  Houdon's  bust  of  1785 

PETERSSEN  (Eilif)  Norway 

Born,  Christiania,  1852 
Pupil  of  Riefstahl,  Descondrcs  and  Diez 
Medals,  Munich,  1876.      Paris,  1878-89-93,  E.  U. 
Hors  Concours 

The  Expositions  held  in  Paris  1889  and  at  Chicago 
1893  were  a  revelation  of  Scandinavian  strength  in 
the  art  world.  These  painters  of  the  North,  with 
their  effects  of  brilliant  lighting  and  of  realism  at 
times  almost  startling,  have  based  their  work  on 
Parisian  methods,  while  retaining  an  individuality 
and  sincerity  all  their  own.  Eilif  Peterssen  is  one 
of  the  best  known  and  most  admired  leaders  of  this 
school. 

224.  Waiting  for  the  Rise  of  the  Salmon 

71%  X  51% 

PIAZZA  (Callisto)  Italy 

Born,  Lodi.    Died,  Lodi,  1561  (?) 
Pupil  of  his  father,  Martino  Piazza 
Venetian  School 

Piazza  was  one  of  Titian's  most  successful  fol- 
lowers, although  his  work  shows  as  well  a  distinct 
infusion  of  Giorgione's  influence.  Lanzi  writes: 
"He  boasts  a  very  noble  design,  is  tolerably  select  in 
his  forms,  and  rich  and  harmonious  in  his  coloring.'' 
The  honor  with  which  this  artist  was  received  when 
visiting  Spain  and  Portugal  proves  that  his  work 
was  of  more  than  local  celebrity. 

225.  The  Woman  Taken  in  Adultexy 

41%  X  31 


PICARD  (Louis)  Paris 

Born,  Paris,  1850 
Honorable  Mention,  1887.      Medal,  1900,  E.  U. 
Legion  of  Honor  1900 
Societaire  de  la  Societe  Nationale  des  P>eaux-Arts 

Picard's  work  never  lacks  a  suggestion  of  liter- 
ary interest^  which  is  again  observed  in  this  figure  of 
a  sensitive  flower  girl.  Little  spots  of  light  in  orange 
and  pale  gold  are  charmingly  introduced  within  a 
distance  of  delicate  tone,  all  in  beautiful  harmony 
with  the  violets  which  are  the  key  note  of  the  pic- 
ture. 

226.  The  Violet  Girl 

25%   X  32 

PONCHIN  (Antoine)  Paris 

Born,   Marseille   (Bouches-dii-Rhone).  Contemporary 
Honorable  Mention,  1904.    Medal,  1906 
Prix  de  Raigecourt-Goyon,  1906 
Membre  de  la  Societe  des  Artistes  frangais 

The  glow  of  the  sunset  transforms  this  scene  on 
the  Loire  into  a  world  of  transcendent  radiance. 
Wide  stretches  of  rolling  ground  and  white  houses 
are  vividly  iridescent  in  the  free  ebb  and  flow  of 
the  magnificent  color  effect.  The  picture  is  one  of 
beauty  and  compelling  force. 

227.  Sunset  on  the  Loire 

POirSSIN  (Nicolas)  France 

Born,  Andelys,  Normandy,  1593.    Died,  Rome,  1663 
Pupil  of  Quentin  Varin,  Noel  Jouvenet,  Ferdinand  Elle,  Lallemont  and  Duquesno 

Poussin,  the  founder  of  the  classic  and  the  aca- 
demic in  French  art  was  called  by  Ruskin  "the  great 
master  of  elevated  ideal  landscape/'  In  1624  he 
visited  and  settled  in  Rome,  but  in  1640  he  re- 
turned to  France,  Cardinal  Richelieu  having  pre- 
vailed upon  Louis  XIII.  "to  adorn  himself  with  the 
talent  of  the  absent  artist."  Although  the  king  gave 
Poussin  apartments  in  the  Tuileries  and  showed  him 
all  honor,  yet  the  painter  found  his  position  intol- 
erable on  account  of  jealous  intrigues,  and  after  two 
years  he  returned  again  to  Rome.  Hazlitt  has  said: 
"The  Poussinesque  landscape  is  characterized  by 
something  of  the  pedantry,  the  same  stiffness,  the 
same  elevation,  the  same  grandeur,  the  same  mixture 
of  art  and  nature  as  Milton's  poetry.'' 

228.  The  Universal  Deluge 

95%  X  671/2  ' 


lis.  ladmuVI  ^u^o^^^^^ 


Paris 


i  >n,  1887.      Medal,  1900, 
^ion  of  Honor  1900 
•ciet6  Nationalc  des  Rea 

or  lacks  a  suggestiuu  uf  liter- 
again  observed  in  this  figure  of 
Little  spots  of  light  in  orange 
g-ly  introduced  within  a 
U  in  beautiful  harmony 
•he  key  note  of  the  pic- 


Paris 


:  liis  scene  on 
icnt  radiance, 
md  white  houses 
ebb  and  flow  of 
picture  is  one  of 

RAEfiURi^  (SiR'HfiNRY) 

PORTRAIT  OF  COI^ONEiU  MacDONALD  OF  ST.  MARTIN'S 

POXrSSXN  (Nicolas)  France 

Born,  Andelys,  Normandy,  1593.    Died,  Rome,  1665 
\Juentin  Varin,  Noel  Jouvenet,  Ferdinand  Elle,  Lallemont  and  Duqueano 

Poussin,,  the  founder  of  the  classic  and  the  aca- 
demic in  French  art  was  called  by  Ruskin  "the  great 
master  of  elevated  ideal  landscape.''  In  1624  he 
visited  and  settled  in  Rome,  but  in  1640  he  re- 
turned to  France,  Cardinal  Richelieu  having  pre- 
vailed upon  Louis  XIII.  "to  adorn  himself  with  the 
talent  of  the  absent  artist.''  Although  the  king  gave 
Poussin  apartments  in  the  Tuileries  and  showed  him 
all  honor,  yet  the  painter  found  his  position  intol- 
erable on  account  of  jealous  intrigues,  and  after  two 
years  he  returned  again  to  Rome.  Hazlitt  has  said: 
"The  Poussinesque  landscape  is  characterized  by 
something  of  the  pedantry,  the  same  stiffness,  the 
same  elevation,  the  same  grandeur,  the  same  mixture 
of  art  and  nature  as  Milton's  poetry." 

228.    The  Universal  Deluge 

95%  X  67l^  Catalogue  Number  231. 


PBEYEB  (Johann  Wilhelm)  Diisseldorf 

Born  Rheydt,  near  Diisseldorf,  1803 
Pupil  of  Diisseldorf  Acadcmj 

In  the  glass  of  wine  here  represented  is  painted  a 
reflected  portrait  of  Preyer,  said  to  be  executed  by 
the  artist's  daughter,  Emilie  Preyer. 

229.  StiU  Life 

14  X  16.    Dated  1870 

PBEYER  (Emilie)  Diisseldorf 

230.  Fruit 

14  X  16.    Dated  1870 

BAEBIJKN  (Sir  Henry)  Edinburgh 
Born,  Stockbridge,  1756.    Died,  Scotland,  1823 
President  of  the  Society  of  Artists  in  Scotland,  1812 

Royal  Academician,  1815.      Knighted  by  George  IV.,  1822 
Appointed  His  Majesty's  Limner  for  Scotland,  1823 

Apprenticed  to  a  goldsmith,  Raeburn's  first  steps 
in  art  were  minute  drawings  on  ivory.  Finished  por- 
traits in  miniature  soon  followed,  of  which  his 
worthy  master  assisted  him  to  dispose  with  such 
success^  that  the  young  workman  was  enabled  to 
purchase  the  remainder  of  his  apprenticeship  and  to 
become  professedly  a  painter  of  miniatures  and, 
later,  of  portraits  in  oil.  "For  years,  application, 
improvement  and  success  went  hand  in  hand,"  states 
Bryan,  "and  he  might  reckon  the  greater  part  of 
the  distinguished  men  of  Scotland  of  his  time 
among  his  sitters  and  friends."  The  portrait  here 
exhibited  is  strong  in  characterization^  impressive 
in  its  coloring,  life-like  and  vigorous  in  design,  and 
is  executed  in  a  decisive  and  dashing  style.  It  is  a 
most  convincing  evidence  of  the  power  of  Raeburn 
as  an  artist. 

231.  Portrait  of  Colonel  MacDonald  of  St.  Martin's 

76  X  SQVs 

ItAFFAELLI  (Jean  Francois)  Pari* 

Born,  Paris,  1845 
Pupil  of  J.  L.  Gerome 

Medal,  1889,  E.  U.      Hors  Concours 
Legion  of  Honor,  1895;      Officer,  1906 
Societaire  de  la  Societe  Nationale  des  Beaux-Arts 

The  chief  characteristic  of  Raffaelli's  painting  is 
the  undeniable  probability  of  its  representation — the 
conviction  of  reality  we  experience  when  seeing  it. 
With  originality,  keen  observation  and  a  fine  sense 
of  humor,  he  has  seen  nature  alive,  and  with  a  rapid 
and  facile  brush  has  so  painted  it.  Strength  and 
character  are  evident  everywhere.  The  street  scenes 
of  this  'Tainter  of  the  Boulevards''  are  more  instinct 


with  vitality^  movement,  the  ever  changing  effects 
of  restless  city  Hfe,  than  is  possible  with  work  of 
more  studied  conventionality  and  academic  accu- 
racy. "Repose,"  the  picture  here  exhibited,  won  for 
the  artist  a  gold  medal  when  exhibited  at  the  Paris 
Exposition  of  1889. 

232.  Bepose 

721/3  X  571/2 

BENAN  (Ary)  Parii 

Born,  Paris.  Contemporary 
Pupil  of  Dclaunay  and  Puvis  de  Chavennes 
Legion  of  Honor,  1895.    Hors  Concours 
Societaire  de  la  Societe  Nationale  des  Beaux-Arts 

This  picture  is  delightful  for  the  temperamental 
feeling  with  which  it  is  painted.  A  mysterious  moth- 
like figure  of  a  woman  is  standing  in  the  enveloping 
twilight  before  the  long  window  of  a  brilliantly 
lighted  room.  The  young  moon  and  the  woman's 
mystical  face  are  reflected  in  the  partially  curtained 
caserr^t.  The  relation  of  the  atmosphere,  in  which 
the  figure  stands,  to  the  lighted  room  in  the  back- 
ground has  been  well  maintained. 

233.  At  the  Window 

37%  X  5iya 

BIBEKA  (Josef  de)  (Lo  Spagnoletto)  Spain 

Born,  Jativa,  1588.      Died,  Naples,  1656 
Pupil  of  Francisco  Ribalta 
Appointed  Court  painter.      Knighted  by  Innocent  X.,  1644 
Member  of  the  Academy  of  St.  Luke,  1630 
Valencian  and  Neapolitan  Schools 

According  to  Cean  Bermudes,  Ribera  was  des- 
tined by  his  parents  for  the  pursuit  of  letters,  but 
preferring  an  art  studio  to  a  university  he  went  early 
to  Italy.  Here  he  painted  with  untiring  energy, 
although  his  extreme  poverty  at  times  made  him  de- 
pendent upon  the  precarious  charity  of  his  fellow- 
students.  A  Cardinal,  who  pitied  Lo  Spagnoletto 
(the  little  Spaniard),  attached  him  to  his  retinue. 
Ribera  did  not  long  remain,  saying  that  the  spur  of 
poverty  was  necessary  to  his  artistic  success.  He 
spent  the  greater  part  of  his  life  in  Italy,  marrying 
the  daughter  of  a  rich  picture  dealer  at  Naples. 
A  pronounced  mannerist,  he  was  yet  a  man  of  remark- 
able strength  and  notwithstanding  his  choice  of  heavy 
shadows,  a  painter  with  fine  color  instinct. 

234.  Archimedes 

52%  X  39% 

235.  St.  Sebastian 

108%  X  72% 


RICHARDS  (William  Trost)  Philadelphia 

Born,  Philadelphia,  1883.    Died,  Rhode  Island,  1905 
Pupil  of  Paul  Weber 
Medals,  Philadelphia,  1876,  Temple  Fund,  1885 
Honorary  Member,  National  Academy 

This  conscientious  student  and  lover  of  nature 
was  one  of  the  most  successful  of  American  paint- 
ers. His  interpretations  of  the  sea  especially, 
whether  in  water-color  or  oil,  won  warm  response 
and  admiration.  Richards  contributed  to  the  vari- 
ous exhibitions  of  our  principal  cities  and  to  those 
of  London  and  Paris. 

236.  Landscape 

40  X  30 

237.  The  Neglected  Corner  of  a  Wheatfield 

12  X  14 

238.  Mountain  Landscape 

44  X  30 

RICO  (Martin)  Paris 

Born,  Madrid. 
Pupil  of  F.  de  Madrazo 

Medals,  1878-89,  E.  U.      Hors  Concours 
Legion  of  Honor,  1878 

Supported  himself  while  studying  at  Madrid  by 
drawing  and  engraving  on  wood.  During  the  sum- 
mer fostered  his  love  for  nature  by  wandering 
through  the  country,  living  from  hand  to  mouth, 
often  the  companion  of  gypsies,  but  studying  and 
absorbing  qualities  that  proved  the  foundation  of 
his  success.  It  was  in  Paris  however  with  Zamacois, 
Meissonier  and  Daubigny  to  encourage  him  and  the 
American  art  patron,  William  Stewart,  to  advance 
his  interests  that  he  climbed  rapidly  the  ladder  of 
fame.  His  work  in  oil  and  water  colors  is  equally 
brilliant,  animated  and  delicate,  his  pictures  fairly 
sparkling  with  crisp  effects. 

239.  Landscape 

18  X  10 


RIEDER  (Marcel)  Paris 

Born,  Thann  (Haat-Rhine).  Contemporary 
Pupil  of  Cabanel 
Medals,  1898-99,  1900,  E.  U.       Hors  Concours 
Membre  de  la  Societe  des  Artistes  frangais 

This  modern  treatment  of  a  modern  subject  is 
rendered  with  a  trustworthy  analysis  of  the  con- 
trasting effects  of  light.  "An  artist  must  compel 
nature  to  pass  through  his  intelligence  and  his 
heart,''  as  Paul  Delaroche  states.    This  artist  has 


here  succeeded  in  materializing  a  musical  group  in 
a  subtle  quality  of  light. 

240.  The  Trio 

22l^  X  l8 

RIEFSTAHL  (Wilhelm)  Munich 

Born,  Neustrelitz,  1827.    Died,  Munich,  1888 
Pupil  of  Berlin  Academy 
Gold  Medal,  Berlin,  1864.   Vienna,  1873 
Member  of  the  Berlin  and  Munich  Academies 

"He  sees  justly,  feels  profoundly,  and  knows  how 
to  express  what  he  feels.'' — Eugene  Miintz. 

241.  Returning  from  the  Christening 

42j4  X  2654.  Dated  1865 

BOSA  (Salvator)  Italy 

Born,  Renclla,  near  Naples,  1615.    Died,  Rome,  1673 
Pupil  of  Paolo  Greco  and  Francesco  Fracanzano 
Neapolitan  School 

*'What  is  most  admired  in  the  works  of  Salvator 
Rosa/'  says  Sir  Joshua  Reynolds,  '*is  the  perfect  cor- 
respondence between  the  subjects  which  he  chose 
and  his  manner  of  treating  them.  Everything  is 
of  a  piece:  his  rocks,  trees,  sky,  even  to  his  hand- 
ling, have  the  same  rude  and  wild  character  which 
animates  his  figures."  Developed  under  the  in- 
fluence of  the  naturalistic  school,  at  eighteen  years 
of  age  Salvator  Rosa  made  a  sketching  tour 
through  the  Abruzzi.  Among  the  dens  of  the 
banditti  in  this  romantic  and  picturesque  region 
he  found  many  of  the  incidents  of  his  pictures. 
Into  landscapes  of  dramatic  magnificence  he  also 
painted  many  battle  scenes,  the  figures  of  which  are 
full  of  movement  and  expression.  Distinguished  for 
a  poetic  elevation  of  soul,  for  daring  conception, 
and  splendor  of  coloring,  Salvator  Rosa  became  the 
boast  of  Naples,  and  the  delight  of  Rome.  Here, 
in  addition  to  his  artistic  renown  he  also  became 
famous  as  a  musician,  actor  and  a  satirical  poet. 

242.  Pyramid  of  Caius  Cestius 

100%  X  77% 

243.  The  Battle 

67%  X  49 

KOSSET-GRANGER  (Edouard)  Paris 
Born,  Vincennes.  Contemporary 

Bourse  de  Voyage,  1881.    Medals,  1884-89,  E.  U.,  1900,  E.  U. 
Legion  of  Honor.    Hors  Concours. 
Menibre  de  la  Societe  des  Artistes,  frangais 

Societaire  de  la  Societe  Nationale  des  Beaux-Arts 

This  picture  is  painted  lovingly  and  with  tender- 
ness.   The  sympathy  of  the  related  tones  together 


with  the  portrayal  of  the  child  and  its  reflection,  are 
worthy  of  careful  consideration. 

244.  Curiosity 

213/4   X  27J^ 

KOTHEBMEIi  (Peter  Frederic)  Philadelphia 

Born,  Pennsylvania,  1817.    Died,  1895 
Associate  of  the  Pennsylvania  Academy  of  Fine  Arts 

^  Not  a  draughtsman,  perhaps,  but  a  colorist,  whose 
high  aim,  fine  composition  and  rich  harmonious 
schemes  of  color,  have  received  warm  recognition 
not  only  in  America,  but  in  Italy,  France  and  Rus- 
sia. 

245.  King  Lear  and  Cordelia 

30  X  25 

ROUSSEATJ  (Philippe)  Paris 

Born,  Paris,  1816 
Pupil  of  Gros  and  Bertin 
Medals,  1845-48-55-78 
Legion  of  Honor,  1852;  Officer,  1870 

Mr.  Wilstach  referred  to  the  picture  here  exhibited 
in  a  letter  to  a  friend:  "Wylie  (the  artist  Robert 
Wylie)  is  delighted  at  my  buying  the  Rousseau ;  he 
writes  me  that  he  thinks  I  have  probably  one  of  the 
finest,  if  not  the  finest,  still  life  picture  of  the  modern 
French  school/' 

246.  Peaches 

38%  X  50% 

BOTJSSEATJ  (Pierre  Etienne  Theodore)  Paris 

Born,  Paris,  1812.      Died,  Barbizon,  1867 
Pupil  of  Remond  and  Letliiere 
Medals,  1834-49-55.      Grand  Medal  of  Honor,  1867,  E.  U. 

Legion  of  Honor,  1852 
Diploma  to  the  Memory  of  Deceased  Artists,  1878,  E.  U. 

'  This  first  apostle  of  truth  in  landscape/'  as  Ed- 
mond  About  calls  Rousseau,  'Svas  one  of  the  most 
profound  thinkers  of  this  century  in  his  own  line." 
Foremost  in  the  celebrated  Fontainebleau-Barbizon 
school,  he  may  be  said  to  have  founded  the  modern 
realistic  method  of  portraying  nature.  He  was  de- 
voted to  its  analysis  and  aimed  to  give  pictorial  ex- 
pression to  the  inherent  beauty  contained  in  the 
truths  of  color,  light  and  atmosphere.  Exception- 
ally vigorous  in  technique  and  of  fine  imaginative 
powers,  Rousseau  gave  a  broad,  majestic  concep- 
tion of  nature  which  was  frequently  sublime  in  its 
pictorial  poetry.  Albert  Wolfe  asserts:  ''Corot 
painted  the  grace;  Millet,  the  hidden  voice;  Jules 
Dupre^  the  majestic  strength.  Theodore  Rousseau 
has  been  by  turns  as  much  a  poet  as  Corot,  as  mel- 
ancholy as  Millet  as  awful  as  Dupre;  he  is  the  most 


complete,  for  he  embraces  landscape  art  absolutely." 
The  honor  of  the  earliest  appreciation  of  the  genius 
of  Rousseau  belongs  to  America. 

247.  Landscape 

13  X  10 

BOYBET  (Ferdinand  Victor  Leon)  France 

Born,  Uzes,  1840 
Pupil  of  Ecole  des  Beaux-Arts  in  Lyons 
Medals,   1866-93.    Grand  Medals,   Munich,   1894,  and  Berlin,  1895 
Legion  of  Honor,  1892;    Officer,  1900 
Hors  Concours 
Membre  perpetuel  de  la  Societe  des  Artistes  frangais 

Always  a  lover  of  rich  color  and  decorative  effect, 
Roybet  evinced  a  delight  in  painting  rare  stuffs  and 
tapestries  that  even  surpassed  his  pleasure  in  ren- 
dering the  episodes  to  which  these  are  merely  an 
environment.  He  was  guided  in  his  quest  of  the 
picturesque  by  a  vivid  imagination.  "The  Sultan's 
Vengeance"  is  characteristic  of  his  effective  and 
dramatic  art.  An  exhibition  of  his  collected  work 
given  in  Paris^  in  1890,  inspired  an  enthusiasm  rare- 
ly aroused  in  this  great  centre  of  art  by  the  work  of 
any  one  man. 

248.  The  Sultan's  Vengeance 

30%  X  26% 

RUBENS  (Peter  Paul)  Antwerp 

Born,  Westphalia,  1577.    Died,  Antwerp,  1640 
Pupil  of  Tobias  Verhaegt,  Adam  van  Noort  and  Otto  van  Veen 
Court  painter,  1609 
Knighted  by  Charles  I.  of  England  and  Philip  IV.  of  Spain 
Honorary  degree  at  the  University  of  Cambridge 
Knight  of  the  Golden  Spur;  Order  of  the  Golden  Key 
At  the  Spanish  Court,  Gentleman  of  the  Bedchamber 

Painter,  scholar,  linguist,  diplomatist.  So  splen- 
did and  varied  is  the  record  of  this  master's  achieve- 
ment that  we  do  not  wonder  at  the  glowing  tribute 
of  the  Marquis  of  Spinola  when  he  said  of  Rubens: 
*'He  found  so  many  talents  combined  in  him,  that 
for  his  own  part,  he  believed  the  gift  of  painting 
to  be  one  of  the  least  considerable  of  them."  Rubens 
was  a  man  of  experience  in  many  countries.  He 
visited  the  Court  of  Spain  as  messenger  of  the  Duke 
of  Mantua  in  1603.  Nineteen  years  later  he  went  to 
Paris  at  the  express  invitation  of  Maria  de'  Medici. 
In  1627,  with  the  title  of  ambassador,  he  was  sent 
to  England  as  mediator  in  negotiating  peace  be- 
tween that  country  and  Spain.  Here  he  was  re- 
ceived with  the  honor  due  to  his  rank  and  com- 
menced a  brilliant,  though  arduous,  career  in 
diplomacy  which  lasted  several  years.  Although 


Rubens  (Peter  Paul) 
ACHILLES  RECOGNIZED  BY  ULYSSES  AMID  THE  DAUGHTERS  OF 

LYCOMEDES 


Catalogue  Number  249. 


.el's,  j^dmuVL  au^oIfiJfiD 


RuiSDAEL  (Jacob  Van) 
LANDSCx\PE  WITH  WATERFALL 


Catalogue  Number  250. 


these  delicate  negotiations  necessitated  much  time 
and  travel  he  never  ceased  to  paint.  He  is  reported 
to  have  said:  'The  painter  Rubens  occasionally 
amuses  himself  with  diplomacy/'  If  happiness  is 
to  be  found  in  the  successful  cultivation  and  exer- 
cise of  inherent  talent,  this  master  genius  must  have 
been  the  happiest  of  men.  '*He  has  taken  a  posses- 
sion of  the  earth  that  no  other  man  has;''  states 
Eugene  Fromentin.  "His  painted  work  comprises 
about  fifteen  hundred  productions,  the  most  im- 
mense output  that  ever  issued  from  one  brain.  *  * 
The  means  are  simple,  the  method  elementary,  but 
employed  by  a  hand  magnificently  agile,  adroit,  sen- 
sitive, and  composed." 

249.    Achilles  recognized  by  Ulysses  Amid  the  Daughters  of 
Lycomedes 

19%  X  14V8 

RTJISDAEL  (Jacob  Van)  Haarlem 
Born,  Haarlem  about  1625.   Died,  1682 
Pupil  of  his  father  and  uncle,  Izack  and  Salomon  Ruisdael 
Member  of  the  Guild  of  St.  Luke 

'*Of  all  the  Dutch  painters,  Ruisdael  is  the  one 
who  most  nobly  resembles  his  country.  He  has  its 
breadth,  sadness,  rather  dreary  placidity  and  its 
monotonous  and  tranquil  charm.  He  has  left  us  of 
Holland  a  portrait  which  I  will  not  call  familiar,  but 
intimate,  lovable,  admirably  faithful,  which  never 
grows  old.  By  still  other  claims  Ruisdael  is,  as  I 
fully  believe,  the  most  distinguished  figure  in  the 
school  after  Rembrant.  *  Nothing,  or  almost 
nothing,  is  known  of  his  existence.  His  great 
labor  did  not  enrich  him,  and  his  title  of  burgher  of 
Haarlem  did  not  prevent  him,  it  appears,  from  being 
almost  forgotten.  Of  this  we  should  have  a  truly 
harrowing  proof,  if  it  is  true  that,  in  commiseration 
of  his  distress,  more  than  from  respect  to  his  genius, 
which  was  barely  suspected  by  anyone,  they  were 
obliged  to  admit  him  to  the  almshouse  at  Haarlem, 
his  native  town,  and  that  there  he  died.' —  Eugene 
Fromentin. 

250.  Iiaiidscax)e  and  Waterfall 

55%  X  40 

251.  River  Scene  with  Barges 

41%  X  29% 

RXJSINOL  (Santiago)  Spain 

Born,  Barcelona.  Contemporary 
Honorable  Mention,  1889 
Associ6  de  la  Soci^te  Nationale  des  Beaux- Arts 

The  placidity  and  repose  of  an  old  garden  has 
been  w^ell  expressed  by  this  painter.   The  mystery 


of  night  has  already  fallen  upon  the  earth;  it  is  an 
hour  in  thorough  sympathy  with  the  poetry  of  the 
subject. 

252.  The  Garden 

24  X  32% 

SACCHI  (Andrea)  Italy 

Born,  near  Rome,  1600.    Died  there,  1661 
Pupil  of  his  father,  Benedetto  Sacchi  and  Albani 
Roman  School 

"The  merit  of  a  painter  does  not  consist  in  giving 
to  the  world  a  large  number  of  works  of  mediocrity, 
but  a  few  perfect  ones,"  said  Andrea  Sacchi.  Act- 
ing on  this  maxim  this  painter  became  the  most 
learned  designer  as  well  as  the  soundest  colorist  of 
the  later  Roman  school.  His  pictures  are  rare,  but 
Philadelphia  has  now  two  possessing  both  grace  and 
distinction.  Together  with  accuracy  of  draughts- 
manship and  characterization,  there  is  a  true  harmon- 
ious tone  of  color  in  which  everything  takes  its  appro- 
priate place.  The  Vision  of  St.  Romuald,  in  the 
Vatican,  is  Sacchi' s  greatest  work,  it  having  been 
considered  the  fourth  best  easel  picture  in  Rome. 

253.  St.  Augustine 

58  X  44% 

254.  St.  Gregory 

57y3  X  44V4 

SCABSELLA  (Ippolito)  (ScarseUino,  Lo)  Italy 

Born,  Fcrrara,  1551.    Died,  Ferrara,  1621 
Pupil  of  his  father,  Sigismondo  Scarsella 
Lombard  School 

'*Scarsella  executed  more  pictures  for  the 
churches  and  individuals  in  his  native  city  than  many 
other  artists  together/'  writes  Abate  Luigi  Lanzi, 
an  early  and  eminent  commentator,  ''on  comparison 
v^ith  Veronese,  it  is  evident  that  his  style  is  derived 
from  that  source  though  it  is  different,  being  comr 
posed  of  the  Venetian  and  the  Lombard,  of  native 
and  foreign  schools,  the  offspring  of  an  intellect 
well  founded  in  the  theory  of  the  art,  if  not  always 
equal,  yet  always  prompt,  spirited  and  rapid.'' 

255.  St.  John 

36  X  42% 

256.  St.  Luke 

36%  X  43V8 

257.  St.  Mark 

361A  X  42% 

258.  St.  Matthew 

35%  X  42% 


SCHLESINGEK  (Henri  Guillaume)  Paria 
Born,  Frankfort-on-the-Main,  1814 
Pupil  of  Vienna  Academy 
Medals,  1840-47 
Legion  of  Honor,  1866 

Went  early  in  life  to  Paris  where  he  was  natural- 
ized. Since  his  first  exhibition  in  1840,  his  pictures 
have  been  received  as  noted  acquisitions  to  the  Paris 
Salon. 

259.  Alone  at  the  Atelier 

28  X  36.    Dated  1868 

SCHOREEL  (Scorel,  Schoorlo)  (Jan  Van)  Holland 

Born,  Schorel,  near  Alkenaar,  1495.    Died,  Haarlem  or  Utrecht,  1562 
Pupil  of  Wcllem  and  Jacob  Cornelisz,  Mabuse  and  Albrecht  Diirer 
Appointed  overseer  of  the  Vatican  Gallery  by  Pope  Adrian  VI. 

The  adherence  of  Albrecht  Diirer  to  the  teachings 
of  Luther  caused  Schoreel  to  leave  the  studio  of  the 
former.  Later  he  travelled  to  Italy,  visiting  in  every 
city  through  which  he  passed  the  most  eminent  artists 
in  order  to  observe  their  different  methods  of  paint- 
ing. Settling  later  in  Utrecht,  Schoreel  opened  a 
school  to  introduce  Italian  art  methods  into  Holland. 
In  this  he  had  a  large  following,  and  was  the  leader 
of  that  movement  in  Italian  imitation  which  ex- 
tended over  Holland  during  the  sixteenth  century. 

260.  Christ  and  Judas 

SSVa  X  25% 

(SCHBEYEB  (Adolf)  Paris 

Born,  Frankfort-on-the-Main,  1828 
Studied  Frankfort,  Stuttgart,  Munich  and  Dusseldorf 
Medals,  1864-65-67,  E.  U.    Brussels,  1863.    Vienna,  1873.  Munich, 
Painter  to  the  Court  of  the  Grand  Duke  of  Mecklenburg-Schwerin,  1862 
Order  of  Leopold,  1866.    Officer  of  the  Star  of  Roumania,  1888 
Member  of  the  Academies  of  Antwerp  and  Rotterdam 
Honorary  Member  of  the  Deutches  Nochstiff 

Born  of  a  wealthy  and  distinguished  family, 
Schreyer  was  given  every  opportunity  for  study  and 
travel.  His  work  is  dashing,  bold,  resolute  and 
full  of  fine  mellow  color  and  poetic  sentiment.  A  de- 
lightful letter  to  Schreyer  reads :  ''I  came  with  Hert 
and  Martinet  to  see  you.  You  are  gone  out,  but 
your  genius  remains  at  home.  We  have  admired  this 
marvellous  picture  of  'Chasse-Niege,'  so  true,  so  pic- 
turesque, so  dramatic.  I  am  egotistic  enough  to  be- 
lieve that  I  am  a  good  judge  in  this  matter.  I  have 
been  myself  enveloped  in  a  snowy  whirlwind 
near  Kowno,  and  your  canvas  makes  me  shiver;  I 
seem  to  be  still  in  Russia.  We  hope  that  you  will 
be  willing  to  send  this  masterpiece  to  our  exposition. 
I  dare  not  believe  in  such  a  happiness,  and  I  thank 


you  in  my  name  and  in  the  name  of  the  Societe 
Nationale  des  Beaux- Arts.   Your  admirer  and  Pres- 
ident, Theophile  Gautier/' 
261.  Winter 

44V2  X  35 

SCHBOEDTER  (Adolf)  Berlin 

Born,  1805.    Died,  Carlsruhe,  1875 
Pupil  of  his  father,  and  of  the  Berlin  and  Diisseldorf  Academies 

Don  Quixote  in  His  Study 

20  X  24 

Two  Monks  in  a  Wine  Cellar 

X  \^V2»    Dated  1863 

SCOTT  (Samuel)  England 

Born,  London,  1710  (?).    Died,  London,  1772 

Walpole  considered  that  the  figures  in  Scott's 
pictures  "were  judiciously  chosen  and  admirably 
painted/'  and  that  "he  introduced  buildings  in  his 
pictures  with  consummate  skill.''  His  pictures 
have  now  also  a  quaint  illustrative  quality  that  is 
very  charming.  Besides  being  considered  the  best 
marine  painter  of  his  time,  Halloway  further  dis- 
tinguished Scott  by  styling  him  "the  father  of 
the  modern  school  of  painting  in  water  colors/' 

264.  View  of  the  Old  Rochester  Bridge 

34%  X  22% 

SEGHERS  (Segers,  Zeghers)  (Daniel)  Antwerp 
Born,  Antwerp,  1590.    Died,  Antwerp,  i66t 
Pupil  of  Jan  Brueghel 
Master  of  the  Guild,  161 1 

Seghers  devoted  his  art  entirely  to  the  painting 
of  flower  subjects,  having  laid  the  foundation  for  his 
success  in  this  direction  by  a  careful  study  of  horti- 
culture. His  skilful  gardening  enabled  him  always 
to  have  at  hand  dainty  models  for  his  pictures. 
Bryan  states  that  he  "gave  to  his  imitations  the 
beauty,  brilliancy  and  variety  with  which  nature 
clothed  the  originals."  Seghers  painted  in  collabo- 
ration with  various  artists  of  his  time,  notably  the 
master  Rubens.  His  pictures  were  eagerly  sought 
and  proved  a  source  of  honor  and  profit  to  the 
Jesuits  of  which  society  he  was  a  member. 

265.  Elowers 

2878  X  47% 

SEYDEL  (Edward) 

266<    Street  Scene  in  Front  of  a  Meat  Shop 

8x7.    Dated  1845 


262. 
263. 


8IEGEBT  (Auguat)  Du.8eldorf 

Born,  Ncuwied,  1820.    Died,  Diisseldorf,  1883 
Pupil  of  Diisseldorf  Academy  and  Schadow,  1835-46 
Medal  in  Vienna 
Member  of  Amsterdam  Academy 

267.  Grace  Before  Meat 

9%  X  11% 

268.  No  Grace  Before  Meat 

9%  X  11% 

SIMON  (Lucien)  Paris 

Bom,  Paris.  Contemporary 
Honorable  Mention,  1885 
Medal,  1890,  1900,  E.  U.    Legion  of  Honor,  1900 
Societairc  de  la  Societe  Nationale  de«  Beaux-Arts 

This  family  group  in  their  home  is  presented  in 
the  very  fascinating  and  entertaining  manner  which 
has  made  this  clever  executant  so  prominent  in  the 
contemporary  world  of  art. 

269.  Portraits 

goV4,  X  72V4: 

SIRANI  (Elizabetta)  Italy 
Born,  Bologna,  1638.    Died,  Bolojfna,  166s 
Pupil  of  her  father,  Andrea  Sirani 
Bolognese  School 

It  is  astonishing  that  in  only  twenty-seven  years 
of  life  Elizabetta  Sirani  accomplished  so  much.  A 
list  of  her  work  enumerated  by  Malvaria,  copied 
from  the  list  kept  by  herself,  amounts  to  one  hun- 
dred and  fifty  pictures  and  portraits.  Many  of 
these  are  of  large  size  and  all  are  most  carefully 
painted.  When  only  seventeen  years  of  age  she  had 
acquired  such  a  reputation  that  commissions  came 
to  her  from  Italian  prinqes,  and  the  distinguished 
personages  and  monarchs  of  Europe.  Her  brilliant 
career  came  to  an  abrupt  end  through  her  death  by 
poison,  professional  jealousy,  it  was  thought,  hav- 
ing instigated  Elizabetta's  maid  to  the  murder.  She 
was  buried,  with  public  demonstrations  of  sorrow  in 
the  Church  of  S.  Domenico,  resting  in  the  same 
vault  with  the  remains  of  Guido,  the  master  whose 
methods  she  had  followed  and  who  had  been  the  in- 
spiration of  her  remarkable  career. 

270.  The  Holy  Family 

15%  X  2iVl 

BTUANI  (Giovanni  Andrea)  Italy 

Born,  Bologna,  1610.    Died,  Bologna,  1670 
Pupil  of  Cavedone  and  of  Guido 
Bolognese  School 

The  favorite  disciple  of  Guido,  Sirani  was  selected 
to  complete  several  pictures  left  unfinished  on  the 
death  of  the  master.    The  success  of  this  work 


brought  Sirani  many  conimisaions.  He  was  a  fol- 
lower of  Guido's  second  manner  of  painting,  pre- 
ferring, like  him,  to  paint  in  the  grand  style  on  large 
canvases.  Later  he  added  a  strong  system  of  light 
and  shadow,  approaching  nearer  to  that  used  by  Car- 
avaggio.  The  three  daughters  of  Sirani  were  paint- 
ers, but  Elizabetta  alone  became  famous.  His  work 
is  chiefly  to  be  found  in  the  gallery  and  various 
churches  of  Bologna. 

271.  Birth  of  Christ 

1SV4,  X  14 

SMITH  (Xanthus)  Philadelphia 

272.  Coast  Scene  off  South  Carolina 

18  X  12.    Dated  1869 

SNYDEBS  (Franz)  Antwerp 

Born,  Antwerp,  1579.    Died,  Antwerp,  1657 
Pupil  of  Pieter  Brueghel,  the  younger,  and  Hendrik  van  Balen 
Master  of  the  Guild,  1602 

A  contemporary  who  won  the  admiration  of 
Rubens,  Jordaens,  and  Van  Dyck.  Rubens  had  a 
deep  affection  as  well  as  admiration  for  Snyders  and 
appointed  him  in  his  will  to  supervise  the  sale  of  his 
works  of  art.  Van  Dyck  frequently  painted  his  por- 
trait. Even  during  the  life  of  Snyders,  his  pictures 
were  in  great  demand,  princes  and  nobles  of  his  own 
and  of  other  countries  desiring  to  obtain  them. 
Philip  of  Spain  gave  him  large  commissions.  The 
work  of  Snyders  is  mainly  the  valued  possession  of 
the  large  European  galleries  or  of  the  private  Eng- 
lish collections.  Philadelphia  has  in  her  keeping 
exceptionally  fine  examples  of  the  master. 

273.  Dead  Game 

65V4,  X  4SV2 

274.  StiU  Life 

94  X  66 

SOLAKIO  (Solari)  (Andrea  da)  Italy 

Born,  Solario,  about  1458.    Died,  Pavia,  about  1530 
Lombard  School 

Very  little  can  be  accurately  told  concerning  the 
early  life  of  Solario.  His  first  artistic  knowledge, 
probably,  was  the  Flemish  method  of  painting  as 
practised  by  Antonello  da  Messino.  Later  he  came 
under  the  spell  of  Leonardo  da  Vinci.  Other  noted 
examples  of  the  work  of  this  tender,  careful  and  re- 
fined painter  are  to  be  found  at  Milan,  Rome,  Berlin, 
London  and  Paris. 

275.  Christ  Crowned  with  Thorns 

16  X  24V4. 


brought  Sirani  many  comniisgions.  He  was  a  fol- 
lower of  Guido's  second  manner  of  painting,  pre- 
ferring, like  him,  to  paint  in  the  grand  style  on  large 
canvases.  Later  he  added  a  strong  system  of  light 
and  shadow,  approaching  nearer  to  that  used  by  Car- 
avaggio.  The  three  daughters  of  Sirani  were  paint- 
ers, but  Elizabetta  alone  became  famous.  His  work 
is  chiefly  to  be  found  in  the  gallery  and  various 
churches  of  Bologna. 

271.  Birth  of  Christ 

18^4  X  14 

SMITH  (Xanthus)  Philadelphia 

272.  Coast  Scene  off  South  Carolina 

18  X  12.    Dated  1869 

SNYDEBS  (Fiunz;  Antwerp 
Bom,  Antwerp,  1579.    Died,  Antwerp,  1657 
Pupil  of  Pictcr  Brueghel,  the  younger,  and  Hendrik  van  Balen 
Master  of  the  Guild*  1602 

A  contemporary  who  won  the  admiration  of 
Rubens,  Jordaens,  and  Van  Dy6k.  Rubens  had  a 
deep  affection  as  well  as  admiration  for  Snyders  and 
appointed  him  in  his  will  to  supervise  the  sale  of  his 
works  of  art.  Van  DjJjjkDfeg^C^x^r) painted  his  por- 
trait. Even  during  thfitittLL  lif?  ^^-i's,  his  pictures 
were  in  great  demand^  princes  and  nobles  of  his  own 
and  of  other  countries  desiring  to  obtain  them. 
Philip  of  Spain  gave  him  large  commissions.  The 
work  of  Snyder's  is  mainly  the  valued  possession  of 
the  large  European  galleries  or  of  the  private  Eng- 
lish collections.  Philadelphia  has  in  her  Veeping 
exceptionally  fine  examples  of  the  master 

273.  Dead  Game 

274.  StiU  Life 

94  X  fx 

80LABI0  (Solari)  (Andrea  da)  Italy 

Born,  Solario,  about  1458.    Died,  Pavia,  about  1530 
Lombard  School 

Very  little  can  be  accurately  told  concerning  the 
early  life  of  Solario.  His  first  artistic  knowledge, 
probably,  was  the  Flemish  method  of  painting  as 
practised  by  Antonello  da  Messino.  Later  he  came 
under  the  spell  of  Leonardo  da  Vinci.  Other  noted 
examples  of  the  work  of  this  tender,  careful  and  re- 
fined painter  are  to  be  found  at  Milan,  Rome,  Berlin, 

London  and  Paris.  Catalogue  Number 

375.    Christ  Crowned  with  Thorns 

16  X  24^A 


SOROLLA  Y  BASTIDA  (Joaquin)  Madrid 

Boriij    Valence.  Contemporary 
Pupil  of  ficole  des  Beaux-Arts  at  Valence. 
Medals,  1893-1895.     Grand  Prix,   1900  (E.  U.) 
Legion  of  Honor,  1900. 
Hors  Concours. 

Sorolla  has  won  the  first  place  in  contemporary 
Spanish  art.  He  dehghts  to  depict  scenes  to  which 
he  can  give  infinite  color  and  life.  Selecting  fre- 
quently out  of  door  subjects^  Sorolla  cleverly  repro- 
duces the  scintillating  color  with  a  touch  rapid  and 
clear.  The  delicious  awkwardnessof  immaturity,  and 
its  rounded  curves  are  charmingly  rendered  in  this 
picture.  **Art  is  but  praise  of  life,  and  it  is  only 
through  the  arts  that  we  can  praise  life"  is  the  opin- 
ion of  George  Moore. 

276.  Border  of  the  Sea 

51  f  S  X  38 

SPITZWEG  (Karl)  Germany 

Born,  Munich,  1808.    Died,  1885 
Pupil  of  Hanson 
Order  of  St.  Michael,  1865 

277.  The  Alchemist 

16  X  14 

SPKINGER  (Cornelis)  Amsterdam 

Born,  Amsterdam,  1817 
Pupil  of  Kaspar  Karson 
Gold  Medal,  The  Hague,  1857 
Orders  of  Oaken  Crown,  1861,  and  of  Leopold 
Member  of  Rotterdam  Academy,  1856 

278.  Street  Scene  in  Amsterdam 

16%  X  20^/4 

STAMMEL  (Eberhard)  Dusseldorl 

Born,  Duren,  1832 
Studied  at  Diisseldorf,  Munich,  Paris  and  Antwerp 

279.  La  Partie  Marriage 

25  X  22.    Dated  1863 

STEEN  (Jan)  Holland 

Born,  Leyden,  1626.    Died,  Leyden,  1679 
Pupil  of  Nicolas  Knupfer  and  Jan  van  Goyen 

Influenced  by  Frans  Hals  and  Adriaan  van  Ostade 
Member  of  the  Guild  of  Leyden,  1648 

**One  of  the  really  fine  brushmen  of  Holland/' 
writes  Henry  Van  Dyke,  ''a  man  greatly  admired  by 
Sir  Joshua  Reynolds  and  many  an  artist  since.  * 
His  brush  was  as  limpid  and  graceful  as  though 
painting  angels  instead  of  Dutch  boors."  Steen 
presented  life  as  a  comedy,  sometimes  with  grim  | 
satire  and  rather  unpleasant  truth,  yet  often  in  a  | 
spirit  of  sympathetic  and  genial  toleration.    As  a 
dramatist  he  has  been  likened  to  Moliere.  He  drew  ' 
human  nature  and  was  a  master  of  physiognomy.  j 


His  figured  groups  are  remarkable  compositions 
because  they  give  to  the  most  thoughtful  arrange- 
ment the  effect  of  accidental  combination.  The 
subjects  painted  by  Steen  range  from  the  grave 
Dutch  citizen  in  his  home,  to  the  tavern  scenes, 
which  he  studied  while  tavern  keeper  at  Leyden. 

280.  The  Fortune  Teller 

36%  X  39% 

STEVENS  CAlfred)  Belgium 
Born,  Brussels,  1828.    Died,  Belgium,  1906 
Pupil  of  f:cole  des  Beaux-Arts,  Navez  and  Roqueplan 
Medals,  Brussels,  1851.    Paris,  1853-55-67-78 
Grand  Medals  of  Honor  at  Paris,  Amsterdam,  Berlin,  E.  U.  and  Austria 
Legion  of  Honor,  1863;  Officer,  1867;  Commander,  1878 
Order  of  Leopold,  1855;  Officer,  1863 — Afterward  Commander 
Commander  of  Austrian  Order  Francis  Joseph  and  of  Bavarian 
Order  of  St.  Michael 
Crois  of  the  Lion  of  the  Netherlands  and  of  the  Order  of  Merit  from  BaTaria 

France  and  Belgium  present  rival  claims  for  this 
artist,  who  resided  and  exhibited  in  both  Paris 
and  Brussels.  He  added  to  the  strength  and  exact- 
ness of  his  early  Flemish  education  the  greater  sub- 
tlety of  impression  and  the  freedom  and  grace  of 
French  execution.  Ranking  with  the  ablest  and 
most  charming  painters  of  modern  life,  Ste- 
vens's pictures  are  remarkable  for  their  delicacy  of 
tone  and  perfection  of  coloring. 

281.  Will  you  go  with  me,  Tidef 

igVi  X  24V2 

BTBOBENTZ  (rredirlck)  Hungary 

Born,   Budapest.  Contemporary 
Honorable  mention,  1894 

This  portrayal  of  two  figures  seated  in  the  shade 
of  an  arbor,  behind  whose  leafy  wall  the  sun  is  bril- 
liantly shining  is  one  of  frank  realism  and  sincerity 
of  purpose.  It  evidences  a  most  careful  and  con- 
scientious study  from  nature. 

282.  The  Visit 

63%  X  42»/8-    Dated  1894 
BXTLLY  (Thomas)  Philadelphia 
Born,  England,  1783.    Died,  Philadelphia,  1872. 
Pupil  of  Gilbert  Stuart  and  Benjamin  West 

In  1792  came  to  America  with  his  parents,  who 
were  comedians.  In  1810,  settled  in  Philadelphia, 
where  he  was  very  successful  as  a  portrait  painter. 
Later  visited  England  and  painted  from  life  a  full- 
length  portrait  of  Queen  Victoria. 

283.  Gypsy  Woman  and  Child,  after  Murillo 

24  X  30.    Dated  1852 

284.  Peasant  Girl,  after  Rembrandt 

24  X  30.    Dated  1857 


SteExX  (Jan) 
THE  FORTUNE  TELLER 


Catalogue  Number  280. 


Swan  (John  Macallan) 
TIGERS  BY  MOONLIGHT 


Catalogue  Number  285. 


SWAN  (John  Macallan)  England 

Born.  Brcntfort.  Contemporary 

Pupil  of  Gerome  and  Fremiet 
Medals,  1889-1900,    E.  U.    Hors  Concours 
Associate  of  the  Royal  Academy  of  Arts 

This  English  painter  and  sculptor  of  animal  life 
owes  his  training  entirely  to  France.  His  studies 
at  the  Beaux  Arts,  where  he  was  fortunate  in  being 
placed  with  fellow  students  of  such  serious  purpose 
as  Bastien-Lepage  and  Dagnan-Bouveret,  were  sup- 
plemented, as  his  love  for  animals  assumed  definite 
form,  by  much  practice  at  the  Zoological  Garden, 
and  a  most  diligent  study  of  anatomy  at  the  various 
hospitals  of  Paris.  A  realist  of  finesse  and  forceful 
technique,  Mr.  Swan  combines  with  his  artistic 
knowledge  of  form  and  movement,  a  fine  apprecia- 
tion of  color  and  a  strong  realization  of  the  value  of 
tonality — of  oneness  of  feeling.  Mr.  R.  A.  N.  Stev- 
enson writes  of  ''The  Tigers  by  Moonlight,"  here 
exhibited:  ''The  relation  of  the  animals  to  the  land- 
scape is  admirable.  It  is  by  no  means  easy  to  adjust 
these  huge,  near-at-hand,  forms  with  long  undulat- 
ing backs,  so  as  to  secure  decorative  dignity  and 
some  sense  of  natural  space  and  proportion.  The 
management  of  the  stripes,  moreover,  deserves 
attention;  far  from  producing  an  irritable  pattern, 
they  fall  into  the  general  arrangement  and  follow 
the  form  with  agreeable  suavity." 
285.    Tigers  by  Moonlight 

39%  X  48% 


TANNER  (Henry  O.)  Pari* 

Born,  Pennsylvanim,  1859 
Pupil  of  P.  A.  F.  A.,  Jean  Paul  Laurens  and  Benjamin  Constant 

Medals,   1S97-1900,  E,  U. — 1906.     Hors  Concours 
Walter  Lippincott  Prize,  P.  A.  F.  A.,  1900 

Son  of  Bishop  Tanner  of  the  African  Methodist 
Episcopal  Church,  this  young  Philadelphia  painter 
has  already  won  a  prominent  place  in  the  ranks  of 
American  artists  and  has  overcome  any  possible 
prejudice,  especially  in  Paris,  where  Art  is  suf- 
ficiently catholic  to  ignore  the  distinctions  of  race. 
Tanner  has  had  the  courage  to  choose  scriptural 
subjects  for  his  pictures,  and  has  thus  challenged 
comparison  with  the  great  painters  of  every  age  and 
race.  His  pictures  having  much  of  the  simplicity 
and  fervid  religious  feeling  of  the  old  masters,  are 
yet  more  than  servile  imitations,  and  are  distin- 


guished  by  originality  and  nobility  in  conception 
and  no  ordinary  skill  in  execution. 

286.  L'Annonciation 

69y4  X  561/2 

TARBELL  (Edmund  C.)  Boston 

Born,  Massachusetts,  1862 
Pupil,  Boston  Museum  of  Fine  Arts,  Boulanger  and  Lefebvre,  Paris 
Clark  Prize,  N.  A.  D.,  1900.     Shaw  Fund  ($1,500),  Society  of  American  Artists, 
1900.    Medal,  Columbian  Exposition,  1893.    First  Hallgartin  Prize,  N.  A.  D., 
1894.    Walter  Lippincott  Prize,  P.  A.  F.  A.,  1895.    Temple  Gold  Medal, 
P.  A.  F.  A.,  1895.    Geld  Medal,  Art  Club  of  Philadelphia,  1895. 
Honorable  Mention,  Tennessee  Exposition,  1900.    First  Prize, 
Boston  Charitable  Mechanics'  Association 

Bronze  Medal,  Paris  Exposition,  igoo 
Member  of  the  "Ten  American  I'ainters" 

This  picture,  so  simple,  yet  so  gracious  in  feeling, 
is  lifted  to  a  high  plane  by  beauty  of  workmanship 
and  distinction  of  style.  It  is  not  painted  for  the 
human  interest — not  with  a  portrait  feeling — but  for 
the  sake  of  tender  color  in  subtle  contrast,  and  of  val- 
ues delicately  differentiated  that  yet  form  perfect 
harmony.  "The  color  is  the  melody,  the  values  are 
the  orchestration  of  the  melody/'  says  George 
Moore:  "As  the  orchestration  serves  to  enrich  the 
melody,  so  do  the  values  enrich  the  color/'  In  this 
tone  production  in  painting,  with  infinite  subtlety  and 
charm  Mr.  Tarbell  has  attained  a  mastery  of  truth. 

287.  The  Afternoon  Tea 

40  X  45 


THATJLOW  (Fritz)  Norway 

Born,  Christiania,,  1847.     Died,  Paris,  1906 
Grand   Prix,    1900,   E.   U.     Hors  Concours 
Legion  of  Honor,  1889;  Officer,  1901 
Societaire  de  la  Societe  Nationale  des  Beaux-Arts 

Goethe's  maxim  that  ''no  real  circumstance  is 
unpoetical  so  long  as  the  poet  knows  how  to  use 
it,"  applies  to  this  painting,  which  shows  the 
country  landscape  enveloped  in  snow.  The  atmo- 
spheric quahty  suggests  the  icy  transparency  of 
winter  interfused  with  the  faint  sunlight  of  the 
North.  Iridescent  swirling  water  breaks  through 
the  ice  and  runs  cold  under  the  pale  canopy  of  the 
sky.  There  are  signs  of  habitation,  yet  solitude  is 
graphically  expressed.  A  subject  somewhat  dreary 
but  splendidly  presented. 
288.  The  Sun  in  Norway 

36y4  X  2878 


guished  by  originality  and  nobility  in  conception 
and  no  ordinary  skill  in  execution. 

286.  L'Annonciation 

TARBELL  (Edmund  C.)  Boston 

Born,  Massachusetts,  i86a 
Pupil,  Boston  Museum  of  Fine  Arts,  Boulanger  and  Lefebvre,  Paris 
•Clark  Prize,  N.  A.  D.,  1900.     Shaw  Fund  ($1,500),  Society  of  American  Artists, 
1900.    Medal,  Columbian  Exposition",  1893.    First  Hallgartin  Prize,  N,  A.  D., 
1894.    Walter  Lippincott  Prize,  P.  A.  F.  A.,  1895.    Temple  Gold  Medal, 
P.  A.  F.  A.,  1895.    Gold  Medal,  Art  Club  of  Philadelphia,  1895. 
Honorable  Mention,  Tennessee  Exposition,  1900,    First  Prize, 
Boston  Charitable  Mechanics'  Association 

Bronze  Medal,  Paris  Exposition.  1900 
Member  of  the  "Ten  American  Painters" 

This  picture,  so  simple,  yet  so  gracious  in  feeling, 
is  lifted  to  a  high  plane  by  beauty  of  workmanship 
and  distinction  of  style.  It  is  not  painted  for  the 
human  interest — not  with  a  portrait  feeling — but  for 
the  sake  of  tender  color  in  subtle  contrast,  and  of  val- 
ues delicately  differentiated  that  yet  form  perfect 
harmony.  **The  color  is  the  melody,  the  values  are 
the  orchestration  of  the  melody/'  says  George 
Moore:  Tiii®L(th^B>retaestifi4it!)reTA^rves  to  enrich  the 
melodjigiiBia®  tHEAfeltK^  Slitftl^WK  color/'  In  this 
tone  production  in  painting,  with  infinite  subtlety  and 
charm  Mr.  Tarl>ell  has  attained  a  mastery  of  truth. 

287.  The  Afternoon  Tea 

40  X  45 


THAULOW  (Fritz)  ISTorway 

Born,  Christiania,,  1847.     Died,  Paris,  1906 
Grand   Prix,   1900,   E.   U.     Hors  Concours 
Legion  of  Honor,  1889;  Officer,  1901 
Societaire  de  la  Societc  Nationale  des  Beaux-Arts 

Goethe's  maxim  that  ''no  real  circumstance  is 
unpoetical  so  long  as  the  poet  knows  how  to  use 
it,"  applies  to  this  painting,  which  shows  the 
country  landscape  enveloped  in  snow.  The  atmo- 
spheric quality  suggests  the  icy  transparency  of 
winter  interfused  with  the  faint  sunlight  of  the 
North.  Iridescent  swirling  water  breaks  through 
the  ice  and  runs  cold  under  the  pale  canopy  of  the 
sky.  There  are  signs  of  habitation,  yet  solitude  is 
graphically  expressed.   A  subject  somewhat  dreary 

but  splendidly  presented.  catalogue  Number  289. 

288.  The  Sun  in  Norway 

361/4x28% 


I 


TIEPOLO  (Giovanni  Battista)  Venice 

Born,  Venice,  1696.    Died,  Madrid,  1770 
Pupil  of  Gregorio  Lazzarini 
Influenced  by  Giovanni  Battista  Piazzetta  and  Paolo  Veronese 
Director  of  the  Academy  of  Painting  at  Venice,  1753 
Venetian  School 

Modern  painters  warmly  praise  this  last  of  the 
great  decorative  painters  of  the  Venetian  school. 
Historians  regard  him  as  having  been  far  in  ad- 
vance of  his  age.  He  painted  many  magnificent 
mural  decorations  in  Venice,  Milan  and  other  Ital- 
ian cities.  He  decorated  the  Archbishop's  palace 
at  Wurtzburg,  and  also,  at  the  request  of  Charles 
ni.,  the  royal  palace  at  Madrid.  Tiepolo  W2is  gifted 
not  only  with  a  brilliant  fancy  and  inventive  power, 
but  was  also  master  of  a  style  which  was  splendidly 
fluent  and  decorative.  He  understood  thoroughly 
the  capability  of  fresco  and  mural  decoration  to  give 
appropriate  color,  to  influence  the  effect  of  space 
and  light.  In  his  easel  pictures,  which  were  painted 
in  oil,  Tiepolo  especially  displays  his  harmonious 
color,  his  true  pictorial  knowledge  and  the  brilliant 
vivacity  of  his  touch. 

289.  Christ  Healing  the  Sick 

44V4  X  26V4 

290.  The  Last  Supper 

42%  X  23% 

TILBURG  (Tilborch,  Tilborgh)  (Edidius  or  Gilles  Van)  Brussels 

Born,  Brussels,  1625.    Died  about  1678 

In  the  richly  toned  pictures  of  this  painter  the  in- 
fluence of  Teniers,  his  probable  master,  is  percep- 
tible, but  that  of  Brouwer  is  still  more  strongly  to 
be  seen.  The  varied  composition  shown  in  his  treat- 
ment of  the  picturesque  subjects  he  selected  from 
the  life  that  surrounded  him  proves  the  fruitfulness 
of  his  imagination.  The  artists  of  Holland  painted 
the  things  they  saw,  not  imagined,  finding  in  every- 
day life  material  of  inexhaustible  interest  from 
which  each  man  chose  according  to  his  pleasure. 

291.  Guard  Room 

X  36% 

TINTORETTO,  IL  (Giacomo  Robusti)  Italy 
Born,  Venice,  1518.    Died,  Venice,  1594 
Venetian  School 

II  Tintoretto  (the  little  dyer)  derived  his  name 
from  the  occupation  of  his  father,  who  was  a  silk 
dyer  (tintore).  Tintoretto  had  no  acknowledged 
preceptor.    He  entered  the  studio  of  Titian,  but 


after  a  few  days  his  master  dismissed  him  without 
assigning  any  reason.  This  msult  served  as  an 
added  spur  to  the  superb  energy  of  the  young  man. 
He  devoted  the  day  to  painting,  and  the  night  to 
drawing,  and  on  the  wall  of  his  studio  he  set  forth 
his  ideal:  "The  drawing  of  Michelangelo  and  the 
coloring  of  Titian."  Tintoretto  never  refused 
work^  frequently  asking,  as  his  only  recompense,  an 
opportunity  to  express  the  abundant  wealth  of  his 
own  thoughts.  He  was  one  of  the  great  painters  of 
the  world  before  his  fortieth  year,  and  an  acknowl- 
edged rival  even  of  Titian.  Berenson  writes: 
''Tintoretto  painted  portraits  not  only  vdth  much  of 
the  air  of  good  breeding  of  Titian's  likenesses,  but 
with  even  greater  splendor  and  wlith  an  astonishing 
rapidity  of  execution.  His  portraits  always  render 
the  man  at  his  best,  in  glowing  health,  full  of  life  and 
determination  and  make  us  look  back  with  amaze- 
ment to  a  state  where  the  htmian  plant  was  in  such 
vigor  as  to  produce  old  men  of  the  kind  represented 
in  most  of  his  pictures." 

202.    Portrait  of  a  Gentleman  of  the  Pesaro  Family 

51  X  44V4 

TODD  (George)  Parli 
293.   Poor  Man's  Bouquet 

23V2  X  28%.    Dated  1869 

TBOYON  (Constant)  Paris 

Born,  Sevres,  1810.    Died,  1865 
Pupil  of  Riocreux  and  Poupart 
Medals,  1838-40-46-48-55 
Legion  of  Honor,  1849 
Diploma  to  the  Memory  of  Deceased  Artists,  E.  U.,  1878 
Member  of  Amsterdam  Academy 

A  powerful  landscape  and  animal  painter.  His 
superb  grasp  of  the  subject  is  full  of  force,  freedom 
and  directness.  His  knowledge  of  the  animals  he 
paints,  their  appearance,  motions,  life  and  peculiar 
characteristics,  is  complete.  "The  poetry  of  the 
fields  has  never  been  more  feelingly  interpreted 
than  by  him,"  writes  Hamerton.  "In  the  'Oxen 
Going  to  Work,'  we  have  a  page  of  rustic  descrip- 
tion as  good  as  anything  in  literature,  of  mighty 
oxen  marching  slowly  to  their  toil!  Who,  that 
have  seen  these  creatures  work,  can  be  indifferent 
to  the  steadfast  grandeur  of  their  nature?  They 
have  no  petulance,  no  hurry,  no  nervous  excitabil- 
ity, but  they  will  bear  the  yoke  upon  their  necks. 


,  ^-w^>  Tintoretto,  II  (Giacomo  Robusti) 

PORTRAIT  OF  A  GENTLEMAN  OF  THE  PESARO  FAMILY 


Cataloifue  Number  agM. 


Catalogue  Number  294. 


i 


and  the  thongs  about  their  horns^  and  push  forward 
without  flinching  from  sunrise  until  dusk." 

294.  Yoke  of  Oxen  and  Boy 

50  X  35 

ULMANN  (Raoul-Andre)  Paris 
Born,  Paris.  Contemporary 
Associe  dc  la  Societe  Nationale  des  Beaux-Arts 

A  picturesque  and  interesting  rendition  of  the  sub- 
ject given  with  a  sincere  and  appropriate  execution. 

295.  The  Wharf  at  Hamburg 

26%  X  21V4 

UNKNOWN.    Early  Italian  (XVI  Century)  Italy 

296.  Frieze  of  the  Candelabra 

29  X  38% 

297.  Madonna  and  Infant 

13Vm  X  18% 

298.  Madonna,  Infant  and  St.  Catharine 

251/8  X  29% 

299.  Madonna,  Infant  and  Two  Saints 

1SV2  X  25% 

300.  Orpheus  Rescuing  Eurydice  from  the  Inferno 

64%  X  sSV4 

These  pictures  so  gracious  in  color  and  composi- 
tion are  expressed  with  a  simplicity  and  dignity  very 
characteristic  of  the  paintings  of  Italy.  **The  Italian 
painter  attends  only  to  the  invariable,  the  great,  and 
general  ideas,  which  are  fixed  and  inherent  in  uni- 
versal nature,''  writes  Sir  Joshua  Reynolds. 

301.  Landscape 

8  X  10.    Dated  1862 

302.  Old  Dutch  Still  Life  (Cabbage  and  Fish) 

Balzac  defines  art  as  "a  bit  of  nature  seen 
through  a  temperament."  In  an  old  Dutch  still  life, 
like  the  remarkable  picture  here  catalogued,  we  see 
the  plain  independent  point  of  view  which  was  so 
characteristic  of  the  people  of  Holland.  Content 
to  make  their  own  choice  of  subject,  regardless  of 
the  canons  of  art,  they  were  convinced  that  a  pic- 
ture was  good  because  it  was  true. 

Tuican  School  (XV  Century)  Italy 

303.  The  Visitation 

271/,  X  36% 

Henry  Havard  has  said  **The  art  of  a  nation  is 
the  synthesis  of  its  dominating  thoughts.'*  Fully 
three-quarters  of  the  paintings  of  the  fifteenth 
century  were  of  a  religious  character,  the  reason 


beino^  not  far  to  seek.  Religious  faith  was  the  all- 
pervading  spirit  of  the  age,  the  Church  being  an  en- 
lightened and  generous  art  patron.  Art  was  not  only 
an  adornment,  it  was  a  necessity  to  present  to  the 
people,  who  had  no  books,  the  vital  points  of  their 
religious  belief.  "Painting  was  the  color-thought 
and  form  language  of  the  people,"  as  John  C.  Van 
Dyke  has  truly  said. 

UTRECHT  (Adriaen  Van)  Antwerp 

Born,  Antwerp,  1599.    Died,  Antwerp,  1652 
Pupil  of  Harmen  de  Neyt 
Master  of  Antwerp  Guild,  1625 

At  first  Utrecht  painted  simply  for  amusement,  but 
his  successful  rendition  of  still  life  and  the  animals  of 
the  barnyard  decided  him  to  adopt  art  as  a  profession. 
The  correctness  of  his  composition,  combin<ed  with  the 
truth  of  his  touch,  won  for  him  a  high  place  among 
the  Flemish  painters  of  still  life.  He  was  much  em- 
ployed by  the  German  Emperor  and  by  the  King  of 
Spain,  receiving  more  orders  than  he  could  execute. 

304.  Game 

39%  X  29% 

VAENIUS  (Venius)  (Otho)  (Octavo  van  Veen)  Brussels 

Born,  Leyden,  1558.    Died,  Brussels,  1629 
Pupil  of  Isack  Claesz  Swanenburg,    Lampsonius  and  F.  Zuccheco 
Court  painter  to  Albrecht  and  Isabella 
Master  of  the  Guild  at  Antwerp,  I594.    Dean,  1602-3 
Member  of  the  Guild  at  Brussels,  1620 

A  student  of  science  especially  of  mathematics, 
a  distinguished  painter,  an  historian  and  a  poet, 
Vaenius  also  found  time  amid  these  diverse  interests 
to  superintend  the  mint  at  Brussels.  In  the 
Academy  of  Art  at  Antwerp,  which  he  founded,  he 
had  the  imique  honor  of  instructing  for  four  years 
that  master  genius,  Rubens.  The  compositions  of 
Vaenius,  founded  on  those  of  the  Roman  school,  are 
learned  and  judicious. 

305.  Incidents  in  the  Life  of  Christ  (12  panels) 

29%  X  41% 

VALENTIN,  LE  (Jean  de  BouHongne)  France 

Born,  Coulommiers,  1591.    Died,  Rome,  1634 
Supposed  to  have  been  a  pupil  of  Simon  Vouet 

Very  little  is  known  concerning  this  painter,  even 
his  name  for  a  long  time  being  a  matter  of  doubt. 
Though  he  ranks  as  one  of  the  best  French  artists 
of  his  time,  he  should  really  be  classed  among  the 
Naturalists  of  the  Italian  school,  so  devoted  was  his 


following  of  Caravaggio.  Like  this  master,  Valen- 
tin has  aimed  at  strong  masses  of  light  and  shadow, 
the  big  effects  and  the  power  arising  from  bold  relief. 
Lanzi  comments  on  the  contemporary  popularity  of 
Valentin  at  Rome. 

306.  Christ  Asking  a  Blessing 

75  X  50% 

VAN  MARCKE  (Emil)  Paris 

Born,  Sevres,  1827 
Pupil  of  Troyon 
Medals,  1867-69-70-78,  E.  U. 
Legion  of  Honor,  1872 

As  pupil  and  near  friend  of  Troyon,  it  is  natural 
that  in  Van  Marcke's  early  work  the  impress  of  the 
former  is  clearly  seen;  but  stronger  individuality 
came  to  Van  Marcke  with  greater  confidence  and 
experience.  His  animals  are  full  of  vigorous  life. 
His  drawing,  modelling  and  grouping  are  masterly 
and  their  surroundings  equally  strong,  happy  and 
well  conceived. 

307.  Spanish  Ox  Team 

VASARI  (Giorgio)  Italy 

Born,  Arezzo,  1511.    Died,  Florence,  1574 
Pupil  of  his  father,  Antonio  X'asari,  Andrea  del  Sarto  and  Michael  Angelo 
Florentine  School 

The  Medici  family  were  Vasari's  greatest  patrons, 
generously  awarding  the  architectural  and  decora- 
tive work  he  executed  for  them.  An  imitator  of 
Michael  Angelo,  his  pictures  lack  originality,  but  pos- 
sess facility  and  a  versatile  knowledge.  Lanzi  states 
that  *'Vasari  aimed  at  too  much,  and  for  the  most 
part  preferred  expedition  to  accuracy."  Writer  as 
well  as  architect  and  painter,  Vasari  has  transmitted 
to  us  most  valuable  material  in  his  biographical  ac- 
count of  the  painters  of  Italy.  Published  at  Florence 
in  1550,  this  first  edition  was  followed  by  others, 
ranging  in  date  from  1568  to  the  present  day,  the 
book  having  been  translated  and  published  in  many 
countries. 

808.    The  Deposition  from  the  Cross 

16%  X  23% 

VAXJTIER  (Benjamin)  Diisseldorf 

Born,  Morges  on  Lake  Geneva,  1829 
Pupil  of  Hebert,  Lugardon,  Dusseldorf  Academy  and  Jordan 
Medals,  Berlin,  1864,  Paris,  1865-66-67-78 
Orders  of  Francis  Joseph,  Red  Eagle  and  St.  Michael 
Legion  of  Honor,  1878 
Member  of  Berlin,  Vienna,  Munich,  Antwerp  and  Amsterdam  Academies 

309.    *^He  win  Never  Make  Anything  but  an  Artist." 

20  X  24.    Dated  1869 


VELASQXJES  (Diego  Kodrigues  De  Silva  Y.)  Spam 
Born,  Serille,  iS99*    Died,  Madrid,  1660 
Pupil  of  Herrcra  cl  Viejo  and  of  Francisco  Pacheco 
Keeper  of  the  Wardrobe,  Usher  of  the  Royal  Chamber,  Chamberlain 
Court  painter,  1623.    Knight  of  Santiago 

''Velasques  is  a  true  master.  If  he  has  rivals, 
none  is  his  superior/'  writes  Leon  Bonnat.  "What 
the  Spanish  master  seeks  above  all  is  character  and 
truth.  He  is  a  realist  in  the  broadest  and  best  accep- 
tation of  the  word."  Although  the  Hfe  of  Velas- 
ques  was  one  of  long  triumph,  his  European  repu- 
tation is  of  comparatively  recent  origin.  Until  the 
first  quarter  of  the  nineteenth  century  his  pictures 
remained  without  popular  appreciation  in  the  pal- 
aces and  museums  of  Madrid.  Polomino  speaks  in 
glowing  terms  of  the  courtly  refinement  of  Velas- 
ques.  Whenever  this  favorite  of  Philip  IV.  trav- 
elled^ he  was  received  with  all  the  honors  usually 
accorded  to  princes.  It  was  during  his  second  visit 
to  Italy  that  he  painted  the  celebrated  portrait  of 
Pope  Innocent  X.,  which  was  received  with  such 
enthusiasm  that  it  was  carried  in  triumphal  pro- 
cession by  the  people.  On  his  return  the  king  con- 
ferred upon  him  the  highly  remunerative  post  of 
Aposentador  de  Palacio  or  palace  marshal.  This 
made  it  necessary  for  Velasques  to  attend  the  king 
whenever  he  left  the  Capital.  In  1660,  a  meeting 
of  the  French  and  Spanish  courts  was  arranged  on 
the  Isle  of  Pheasants  to  celebrate  the  nuptials  of 
the  youthful  Louis  XIV,  and  the  Infanta  Maria 
Teresa.  His  arduous  duties  in  connection  with 
these  festivities  made  Velasques  ill.  On  his  death 
the  Spanish  master  was  buried  with  great  pomp 
in  the  Church  of  San  Juan. 

310.    study  of  Columns,  Figures,  etc. 

48  X  341/2 

VERBOECKHOVEN  (Eugene  Joseph)  Belgium 
Born,  Belgium,  1799.    Died,  Brussels,  1881 
Pupil  of  his  father 
Medals,  1821-34-41-55 
Chevalier  of  the  Orders  of  Leopold,  St.  Michael,  and  Christ  of  Portugal 
Decorated  with  the  Iron  Cross  1830.    Legion  of  Honor,  1845. 
Member  of  the  Brussels,  Antwerp,  Ghent,  Amsterdam  and  St.  Petersburg 

Academies 

Though  Verboeckhoven  essayed  portrait  painting 
and  sculpture,  he  found  his  true  forte  in  the  painting 


of  animals.   His  skillful  treatment  of  this  subject  won 
for  him  wide  reputation. 

311.  Oxen,  Goats  and  Sheep 

12  X  SVz,    Dated  1842 

312.  Interior  of  a  Stable 

421/2  X  2gV4.    Dated  1869 

313.  Sheep,  Ducks  and  Chickens 

9  X  6V2 

314.  The  Resting  Place 

12  X  8V2.    Dated  1845 

VEBONESE  (Carlo  CaUari)  Italy 

Born,  1570.    Died,  1596 
Pupil  of  his  father,  Paolo  Veronese  and  Jacopo  Bassano 
Venetian  School 

Carlo  Veronese  gave  early  proof  of  exceptional 
talent.  Before  his  eighteenth  year  he  had  produced 
work  of  distinguished  character,  the  prediction  that 
he  would  equal  if  not  surpass  his  father,  Paolo  Ver- 
onese, being  generally  made.  It  is  said  that  the  young 
painter  impaired  his  constitution  by  too  incessant 
application ;  whatever  the  cause,  his  promising  career 
ended  when  he  was  only  twenty-six  years  of  age. 
"The  Duchess  of  Modena"  is  presented  with  a  cheer- 
fulness and  frank  worldliness,  a  love  of  display  com- 
bined with  a  naturalness  of  feeling  that  are  very- 
appealing  to  the  eye. 

315.  The  Buchess  of  Modena 

SQVb  X  52V2 

VLIET  (Hendrik  Cornelisz  Van  (van  der)  Deltt 
Born,  Delft,  161 1  or  1612.    Died,  Delft,  1675 
Pupil  of  his  uncle,  William  van  Vliet  and  of  Mierevelt 

"Atmosphere  in  an  interior  is  more  difficult  to 
paint  than  in  open  air,''  says  the  scholarly  modern 
painter,  Alfred  Stevens.  This  problem  is  well 
handled  in  this  picture  of  the  interior  of  a  large 
church,  probably  the  one  at  Delft,  where  Van  Vliet 
lived.  The  clear  light  diffused  through  the  paint- 
ing, which  comes  from  the  high  windows,  adds 
greatly  to  the  effect  of  height  and  space.  The 
whole  composition  is  rendered  with  a  realism,  at 
once  skillful,  subtle  and  impressive. 

316.  Church  Interior 

26V2  X  31% 

VOLLON  (Antoine)  Paris 

Born,  Lyons,  1833 
Pupil  of  Ribot 
Medals,  1865-68-69-78,  E.  U.      Hors  Concours,  1889,  E.  U. 
Legion  of  Honor,  1870;  Officer,  1878  • 

In  extraordinary  facility,  great  force  in  handling 
color,  sure  brushwork,  broadly  given  in  swift,  un- 


compromising  and  vigorous  strokes,  this  ''painter's 
painter,"  in  still  life  at  least,  never  had  a  superior. 
Still-life  painting  with  Vollon  ceases  to  become  mere 
imitation,  but  with  good  grouping,  fine  lighting, 
and  atmospheric  effect  is  elevated  to  the  pictorial, 
and  is  dignified  and  valued  accordingly.  The  still- 
life  here  exhibited  is  characterized  as  ^'Vollon's 
masterpiece  in  America."  With  equal  skill,  Vollon 
paints  landscape,  marine,  genre,  etc.  The  "Port  of 
Marseilles,"  is  a  fine  example  of  his  justly  famous 
harbor  views. 

317.  After  the  BaU 

50  X  66 

318.  Port  of  Marseilles 

55  X  42^/2 

VOLTZ  (Friedrich)  Munich 

Born,  Nordlingen,  1817.    Died,  Munich,  1886 
Pupil  of  his  father  and  of  Munich  Academy 
Medals,  Berlin,  1856-61.    Great  Wurtemberg  Art  Medal 
Chevalier  of  the  Orders  of  Red  Eagle  and  of  St.  Michael 
Member  of  the  Academies  of  Berlin,  Munich  and  Vienna 

Friedrich  Voltz  was  an  earnest  -student  of  animal 
life  both  in  its  surroundings  and  in  its  connection 
with  humanity.  A  man  of  great  industry,  it  is  said  of 
him  that  having  been  disabled  by  a  temporary  but 
very  severe  accident  to  his  right  hand,  undauntedly 
he  taught  himself  to  use  his  left  with  equal  dexter- 
ity and  skill. 

319.  Landscape  and  Cattle 

35  X  14% 

320.  Landscape  and  Cattle 

35  X  14% 

VON  STARKENBURG  (W.  T.)  Dusseldorl 

321.  Scene  on  the  Hudson  Kiver 

30  X  19 

VOS  (Cornelius  de)  Antwerp 

Born,  Hulst,  1585.    Died,  Antwerp,  1651 
Pupil  of  David  Remeeus 
Master  of  the  Guild  of  Antwerp,  1608;  Dean,  1619-20 

A  portrait  painter  who  acquired  a  great  reputa- 
tion, even  in  the  home  of  Rubens  and  Van  Dyck, 
Indeed  the  latter  was  his  close  personal  friend. 
Like  all  Flemish  artists  of  his  period,  De  Vos  came 
under  the  dominating  influence  of  Rubens,  yet  he 
maintained  his  strong  personality  and  showed  a 
more  marked  independence  than  any  of  his  con- 
temporaries. This  family  group  is  given  with 
strength,  concentration  and  simplicity.   It  is  strong 


;  jinising  and  vigor*  i  -  .s-  aiter's 
painter,"  in  still  life  at  least,  never  uperior. 
Still-life  painting"  with  Vollon  ceases  lu  gecome  mere 
imitation,  but  with  good  grouping,  tint  lighting, 
and  atmospheric  effect  is  elevated  to*  the  pictorial, 
and  is  dignified  and  valued  according!;  still- 
life  here  exhibited  is  characterized  a  v  alon's 
masterpiece  in  America/'  With  equal  skill,  Vollon 
paints  landscape,  marine,  genre,  etc.  The  *Tort  of 
Marseilles/'  is  a  fine  f  mple  of  his  justly  fan-'i^s 
harbor  views. 

317.  After  the  BaU 

50  ^' 

318.  Port  of  MarseUles 

■  55  ^  4^  / -2 

V  ULTZ  (Friedrich)  Munich 
Born,  Nordlingen,  1817.'*  Died,  Munich,  1886 
Pupil  of  his  father  and  of  Munich  Academy 
Medals,  Berlin,  1856-61.    Great  VVurtembcrg  Art  Medal 
Chevalier  of  the  Orders  of  Red  Eagle  and  of  St.  Michael 
Member  of  the  Academies  of  Berlin,  Munich  and  Vienna 

Friedrich  Voltz  was  an  earnest  -student  of  animal 
.  life  both  in  its  surroundings  and  in  its  connection 
with  humanity.  \  man  of  great  industry,  it  is  said  of 
him  that  having  been  disa\^g|l^i^'(§:At^ynporary  but 
very  severe  aORSdfeiltIlE^Eh(l)Bii)t(i^ia^  Mjfe^Btft^jlWD) 
he  taught  himself  to  use  his  left  with  equal  dexter- 
ity and  skill. 
U9.    Landscape  and  Cattle 

35  ^  14% 

120.    Landscape  and  Cattle 

35  X  I 4^4 

STABKENBURG  (W.  T.)  Dusseldorf 
Scene  on  the  Hudson  Biver 

30  X  19 

iTOS  (Cornelius  de)  Antwerp 

Born,  Hulst,  1585.    Died,  Antwerp,  1651 
Pupil  of  David  Remeeus 
Master  of  the  Guild  of  Antwerp,  1608;  Dean,  1619-30 

A  portrait  painter  who  acquired  a  great  reputa- 
tion, even  in  the  home  of  Rubens  and  Van  Dyck, 
Indeed  the  latter  was  his  close  personal  friend. 
Like  all  Flemish  artists  of  his  period,  De  Vos  came 
under  the  dominating  influence  of  Rubens,  yet  he 
maintained  his  strong  personality  and  showed  a 
more  marked  independence  than  any  of  his  con- 
temporaries. This  family  group  is  given  with 
strength,  concentration  and  simplicity.   It  is  strong  Catalogue  Number  3^5. 


in  value — that  corner  stone  of  Dutch  and  Flemish 
art — and  is  dignified  and  true  in  characterization. 
*'Art  is  the  'eternization'  in  a  supreme  force  abso- 
lute and  definite,  of  the  'fugitivity'  of  a  creature  or 
of  a  human  being/'  state  Edmond  and  Jules  de 
Concourt.  This  picture  is  one  of  the  most  artistic 
examples  of  the  portraits  of  De  Vos  in  any  of  our 
galleries,  whether  private  or  public. 

323.    Portrait  of  Antoine  Renniers,  his  wife  Maria  Leviter,  and 
their  Children 

96%  X  67y2 


WALDEN  (Lionel)  Connecticut 
Born,  Connecticut,  1862 
Pupil  of  Carolus  Duran 

Honorable  Mention,  1899 
Aledal,  1900,  E.  U.,  1903.    Medal  at  London 

The  full  moon  rises  in  a  clear  sky,  diffusing  its 
light  through  the  scene.  A  group  of  fishermen  are 
well  arranged  and  have  been  executed  with  the 
most  happy  result.  Especially  well  considered  is 
the  farther  shore,  emphasized  by  its  occasional 
spark  of  yellow  light.  The  artist,  Mr.  Walden,  is  one 
of  the  promising  Americans  now  resident  in  Paris. 

323.  Fishing  in  the  Roadstead 

WEBER  (Otto)  Berlin 

Born,  Berlin.    Killed  in  the  war  of  1870 
Studied  in  Berlin  and  Paris 
Medals,  Paris,  1864-69,  Utrecht,  1866 

324.  Wood  Scene 

50  X  35 

WEENIX  (Jan)  Holland 

Born  Amsterdam,  1640.    Died,  Amsterdam,  1719 
Pupil  of  his  father,  Jan  Baptista  Weenix 
Member  of  the  Guild  at  Utrecht,  1664-69 

Jan  Weenix  had  as  a  fellow  student  his  cousin 
Melchior  d'Hondecoeter,  who  is  represented  by 
two  pictures  in  the  Wilstach  Collection.  As  they  de- 
veloped, Weenix  lacked  the  dramatic  power  and 
energy  of  Hondecoeter,  but  surpassed  him  in  finish 
and  harmony  of  decorative  arrangement.  Honde- 
coeter  preferred  the  flutter  of  the  poultry  yard,  while 
Weenix  was  at  his  best  when  representing  dead  birds 
and  game.  Weenix  painted  a  variety  of  subjects, 
figures,  animals,  landscape,  fruit,  flowers  and  even 
portraits. 

325.  Still  Life  (Dead  Game  and  Hound) 

1SV4  X  2078 


WHISTLES.  (James  Abbott  McNeill)  Massachusetti 

Born  Massachusetts,  1834.    Died,  England,  1903 
Pupil  of  Glcyrc  in  Paris 
Medals,  Paris,  1883;  P.  A.  F.  A.,  1902;  Columbian  Exposition,  1893 
Officer  of  the  Legion  of  Honor 
Societaire  de  la  Societe  Nationale  dcs  Beaux-Arts 
President  of  Society  of  British  Artists,  1886 

The  delicate  expressiveness  of  Whistler's  art  is 
entirely  personal  and  in  its  refinement  of  invention 
and  mysterioyis  simplicity  of  method  has  always  re- 
mained very  much  the  same.  The  flowing,  supple 
execution  is  apparently  very  sketchy;  but,  as  John 
C.  Van  Dyke  has  truly  said,  "it  is  the  maximum  of 
effect  with  the  minimum  of  effort."  Without  any 
loss  to  his  own  individuality.  Whistler  has  studied 
the  art  of  Japan  and  that  of  Velasques,  and  has 
known  how  to  successfully  assimilate  their  great 
principles  of  selection  from  nature's  subtleties, 
rather  than  attempt  to  literally  copy  her  charm. 
His  Nocturnes  are  unrivalled  in  their  vibrant, 
transparent,  luminous  darkness,  and  the  portraits 
of  this  master  are  painted  with  imaginative  and 
decorative  treatment.  The  lady  here  portrayed, 
passing  into  mysterious  space,  is  given  with  tender 
analytical  judgment,  combined  with  rare  simplicity 
of  intention  and  unison  of  tone. 
326.    The  Lady  with  the  Yellow  Buskin 

84^^  X  4.3 


WILLAEBTS  (Ferdinand)  Belgium 

Born,  Gand,  Belgium.  Contemporary. 
Medal,  1900,  E.  U. 
Associc  de  la  Societe  Nationale  des  Beaux- Arts 

Stamped  with  a  healthy  appreciation  of  nature, 
this  picture  by  Willa^ts  is  expressed  with  more  than 
average  ability.  The  placid  waters  of  the  canal,  with 
its  many  reflections,  the  effect  of  distance,  the  play 
of  light  so  well  diffused  through  the  picture,  all  attest 
a  mind  both  skilled  and  thoughtful. 

327.    Belgian  Canal 

33  X  44% 


WILLEMS  (riorent)  Belgium 

Bom,  Belgium,  1823.   Died,  1905. 
Pupil  of  Mechlin  Academy 
Medals,  Paris,  1844-46-55-67-78,  Brussels,  1843 
Legion  of  Honor,  1853;  Officer,  1864;  Commander,  1878 

Chevalier  and  Officer  of  the  Order  of  Leopold 
Commander  of  the  Order  of  Francis  Joseph  of  Austria 


I 


WHISTLEB  (Jamefl  Abbott  HcNeill)  MassacliuBetts 

Born  Massachusetts,  1834.    Died,  England,  1903 
Pupil  of  Gleyre  in  Paris 
Medals,  Paris,  1883;  P.  A.  F.  A.,  1902;  Columbian  Exposition,  1893 
Officer  of  the  Legion  of  Honor 
:^v.>cietaire  de  la  Societe  Nationale  des  Beaux-Arts 
President  of  Society  of  British  Artists, '  1886 

The  delicate  expressiveness  of  Whistler's  art  is 
entirely  personal  and  in  its  refinement  of  invention 
and  mysterious  simplicity  of  method  has  always  re- 
mained very  much  the  same.  The  flowing,  supple 
execution  is  apparently  very  sketchy;  but^  as  John 
C.  Van  Dyke  has  truly  said,  "it  is  the  maximum  of 
effect  with  the  minimum  of  effort."  Without  any 
loss  to  his  own  individuality.  Whistler  has  studied 
the  art  of  Japan  and  that  of  Velasques,  and  has 
known  how  to  succesisfully  assimilate  their  great 
principles  of  selection  from  nature's  subtleties, 
rather  than  attempt  to  literally  ^copy  her  charm. 
His  Nocturnes  are  unrivalled  m  their  vibrant, 
transparent,  luminous  darkness,  and  the  portraits 
of  this  master  are  painted  with  imaginative  and 
decorative  treatment.  The  lady  here  portrayed, 
passing  into  mysterious  space,  is  given  with  tender 
analytical  judgment,  combined  with  rare  simplicity 
of  intention  ^^^^mso^jj^^|0)ig^^  McNeh^O 
326.    The  La^^ig^^  ))^^ 'fi^Jj^^^^^ELLOW  BUSKIN 

84V4  *  43 


WILIiAEBTS  (Ferdinand)  Belgium 

Born,  Gand,  Belgium.  Conterrporiry 
Medal,  1900,  E.  U. 
Associc  dc  la  Societe  Nationale  des  i  caux  Arts 

Stamped  with  a  healthy  appreciation  of  nature, 
this  picture  by  Willa'erts  is  expressed  with  more  than 
average  ability.  The  placid  waters  of  the  canal,  with 
its  many  reflections,  the  effect  of  distance,  the  play 
of  light  so  well  diffused  through  the  picture,  all  attest 
a  mind  both  skilled  and  thoughtful. 

337.    Belgian  Canal 

,13  X  44% 


WILLEMS  (Florent)  Belgium 

Born,  Belgium,  1823.   Died,  1905- 
Pupil  of  Mechlin  Academy 
Medals,  Paris,  i844-46-S5-67-78,  Brussels,  1843 
Legion  of  Honor,  1853;  Officer,  1864;  Commander,  1878 

Chevalier  and  Officer  of  the  Order  of  Leopold  j 
Commander  of  the  Order  of  Francis  Joseph  of  Austria 

Catalogue 


"The  dainty  domestic  painter''  was  the  way  that 
Rosetti  designated  Willems. 

328.  I  Was  There 

19  X  25 

329.  Signed  and  Sealed 

19  X  231/4 

WITTKAMP  (John  Bernard)  Antwerp 

Born,  Westphalia,  1820 
Studied  at  Rotterdam  and  Antwerp 
Medals  at  Brussels,  The  Hague,  Bruges  and  London 
Honorary  Member  of  Amsterdam  and  Philadelphia  Academies 

330.  The  Widow 

40  X  30 

WOOD  (George  B.  Jr.)  Philadelphia 
Born,  Philadelphia,  1832 
Pupil  of  Pennsylvania  Academy  of  the  Fine  Arts 
Member  Pennsylvania  Academy  of  the  Fine  Arts 

331.  Winter  Twilight 

8x6 

WYLIE  (Robert)  Philadelphia 

Born,  Isle  of  Man,  1839.    Died,  Brittany,  1877 
Studied  in  Philadelphia  and  Paris 
Medal,  Paris,  1872. 

This  artist,  in  whose  career  Mr.  Wilstach  took  a 
deep  personal  interest,  went  to  Paris  in  1865  to 
study  with  Barye,  intent  upon  becoming  a  sculptor. 
He  finally  settled  in  Britanny,  where  he  turned  his 
attention  to  painting,  continuing  to  show  in  this 
medium  that  pronounced  and  delicate  feeling  for 
form  which  had  drawn  him  to  sculpture.  His  pic- 
tures are  painted  in  a  style  full  of  truthfulness  and 
authority,  with  much  solidity  and  breadth  of  treat- 
ment. 

332.  The  Postman 

57  X  451/2.    Dated  1868 

333.  A  Koman  Girl 

25%  X  32.    Dated  1869 

ZAMACOIS  (Eduardo)  Spain 
Born,  Spain,  1842.    Died,  1871 
Pupil  of  Madrid  Academy  under  F.  de  Madrazo  and  in  Paris  of  Meissonicr 
Medals,  Paris,  1867.    Munich,  1870 
Diploma  to  the  memory  of  deceased  artists,  E.  U.,  1878 

A  man  of  keen  wit  and  originality,  painting,  with 
pure  and  intense  color,  in  a  style  polished  and  com- 
plete. His  pictures  are  mainly  satires^  rendered 
with  force  and  ability.  Eugene  Benson  says :  "Za- 
macois  has  a  suspicion  of  malice  that  must  be  de- 
lightful to  the  compatriots  of  Voltiaire,"  and  later 
that  he  is  "kindred  to  Moliere.  If  you  could  sup-  . 
pose  something  of  Moliere's  genius,  embodied  in  a 


series  of  sonnets,  you  would  have  a  just  literary  ex- 
pression of  Zamacois  as  a  painter/'  Dyin^  when 
but  thirty  years  of  age  he  left  the  memory  of  a  ca- 
reer of  unusual  brilliancy. 

334.  Decorative  Painter 

14%  ^  22% 

335.  Before  the  Battle 

5x7 

336.  After  the  Battle 

ZIEM  (Felix)  Paris 

Born,  Beaune,  1831 
Pupil  of  Art  School  oi  Dijon 
Medals,  1851-52-55,  E.  U. 
Legion  of  Honor,  1857;  Officer,  1878 

In  that  first  requirement  and  indispensable 
charm  of  painting,  the  harmonious  fusion  of  color, 
in  atmosphere  and  suggestion  of  movement,  we 
find  Ziem  at  his  best.  The  mornings  and  evenings 
of  Holland  and  Venice,  which  he  has  given  us,  are 
melodious  with  rhythmic  notes  of  color,  the  rich  re- 
flections of  the  artist's  colorful  mind.  *'He  excels/' 
writes  Edmond  About,  *'in  mirroring  the  most  bril- 
liant colors  in  a  canal.  The  least  wind,  which  per- 
chance ruffles  the  face  of  the  water,  furnishes  a  de- 
licious matter  for  his  brush/' 

337.  Mills  in  Holland 

.S2  X  31 

ZIMMERMAN  (Albert)  Munich 

Born,  Saxony,  1808 
Studied  in  Dresden  and  Munich 
Bavarian  Order  of  St.  Michael 
Member  Munich  and  St.  Petersburg  Academies 

338.  Bella^o,  Lake  Como 

50  ^  37 

ZIMMERMAN  (R.  J.)  Munich 

339.  Too  Late  for  The  Cars 

32  X  28.    DatrH  Tfte^ 

ZO,  (Henri)  i'iria 
Born    Bayonne.    (Basses-Pyrcn^s.)  Contemporary 
Pupil  of  Achillc  Zo,  Leon  Bonnat  and  Albert  Maignaji. 

Medals,   1899-rQoo.   E,  U, — 1901.     Hers  Concours 
Bourse  de  X'oyage,  1901.    Prix  Rosa-Bonheur,  1903.     Prix  Nationale  1905. 
Membre  de  la  Societe  des  Artistes  frangais 

Racially  very  interesting,  these  portraits  present 
Spanish  characteristics  with  directness  and  a  force 
that  is  typical.  The  treatment,  if  rather  hard  and  tin- 
compromising,  shows  skilled  workmanship.  The 
background  to  the  right  repeats  the  colors  of  the 
flowers  in  a  delightful  manner. 

340.  Spanish  Family 

543/4  X  81  Vs 


ZUBBARAN  (Francisco  de)  Spain 

Born,  Fucntc  dc  Cantos,  Estremadura,  1598.    Died,  Madrid,  1662 
i^upil  of  Juan  de  las  Koelas 

Although  the  parents  of  Zurbaran  were  of  the 
laboring  class^  they  gave  their  son  an  opportunity 
to  study  art  at  Seville,  recognizing  his  especial 
talent.  The  young  student  constantly  painted  from 
nature,  cultivating  that  broad  handling  and  strong 
contrast  of  light  and  shade  which  won  for  him  the 
title  of  **the  Spanish  Caravaggio/'  Before  his 
twentieth  year  he  had  acquired  a  wide  reputation. 
In  1650  he  was  called  by  Philip  IV.  to  Madrid  to 
decorate  a  room  at  the  Buen  Retiro  Palace.  The 
King  showed  him  many  marks  of  friendship,  affec- 
tionately styling  him  'Tainter  to  the  King  and 
King  of  Painters."  Although  he  shared  with  his 
friend  Velasques  the  title  of  Court  Painter,  he  was 
essentially  a  recluse  and  loved  most  the  religious 
atmosphere  of  the  cloister.  His  representations  of 
monastic  life  won  for  him  an  ever  increasing  repu- 
tation. It  is  believed  that  the  noted  beauties  of  his 
time  were  the  originals  of  the  lovely  saints  he  pic- 
tured. Zurbaran  possessed  great  strength  and 
finish  of  treatment,  together  with  a  free,  vigorous 
touch.  The  soft  glow  of  color  which  permeates  his 
pictures  suggests  the  Venetian  painters. 
841.    Portrait  and  Landscape 

46y.  X  41% 

342.    The  Annunciation 


WATER  COLORS,  PASTELS, 
CRAYONS,  ETC. 

Pictures  not  otherwise  denoted  are  water  colors 


ACHENBACH  (Oswald)  Dusseldorf 
343    Scene  near  Naples 

20  X  14 

BBOCHART  (C.)  Paris 

344.  Les  Belles  Espagnoles 

31  X  38.  Pastel 

345    Les  Belles  Francaises 

31  X  38.  Pastel 

GALLAIT  (Louis)  Brussels 

Born,  Belgium,  1810.    Died,  1887 
Pupil  of  Celothen  and  Hennequin 
Medals,  1835-48.    Legion  of  Honor,  1841 
Chevalier  of  the  Order  of  the  Crown  of  Oak,  Holland  and  Prussian  Order  of  Merit 
Grand  Cordon  of  the  Order  of  Leopold,  1881 
Honorary  Member  of  the  Royal  Academy,  London 
Member  of  the  Brussels,  Antwerp,  Paris,  Berlin  and  Munich  Academies 

346.  Water  Color 

10V2  X  I2l^.    Dated  1868 

HAMILTON*  (James)  Philadelphia 

347.  Sunset  on  the  Jersey  Flats 

16  X  9 

348.  Moonlight  Scene 

15  X  15 

349.  Buins 

15  X  15 

350.  Beach  Scene 

II  X  7 

351.  New  York  and  Brooklyn  from  the  Bay 

16  X  9 

352.  View  of  New  York 

10V2  X  7^4 

JOHN  (J.  W.) 

353.  Landscape 

II  X  i5Vi 


MOBAN  (Thomas) 

354.  View  in  the  Susquehanna  Valley 

19  X  13.    Dated  1865 

355.  Buins  on  the  Nile 

16%  X  21       Dated  1858 

356.  Study  (after  Turner) 

16  X  16 

357.  Study  (after  Turner) 

16  X  16 


New  York 


TOWNE  (Bosa) 
358.    Wild  Flowers 


II  X  9 


WILLIS  (H.  B.) 

359.  Interior  of  a  Stable 

14  X  10.    Dated  1856 

SPBINGEB  (Cornells) 

360.  Street  Scene 


Philadelphia 


ijondon 


Amsterdam 


SVa  X  loVz    Dated  1867 

VAUTIEB  (Benjamin)  I>usseldort 

361.  Scene  in  a  German  Church 

13  X  15.    Crayon  Drawing.    Dated  1858 

WITTKAMP  (John  Bernard)  Antwerp 

362.  Dathsen  Preaching  before  the  Walls  of  Ghent 

10  X  8 


BRONZES 


BABYE  (Antoine  Louis)  Paris 

Born,  Paris,  1795.    Died,  1875 
Medal,  1831.    Grand  Medal  of  Honor,  iSss,  E.  U. 
Chevalier  of  the  Legion  of  Honor,  1853;  Officer,  1855. 
Member  of  the  Institute,  1868 

''Keenly  tormented  by  his  intense  desire  to  be- 
come a  sculptor,"  as  Barye  expressed  it,  his  appren- 
ticeship of  twenty-two  years  was  one  of  great 
poverty,  disappointment  and  patient  labor.  His 
love  and  unwavering  belief  in  his  art,  his  capacity 
for  incessant  study,  his  complete  insight  and  artistic 
knowledge  of  the  character,  mode  of  life,  power  and 
fascination  of  animal  nature  and  his  comprehension 
of  arrested  movements  were  the  attributes  of  gen- 
ius. Leon  Bonnat  writes :  "Barye  is  one  of  the  great- 
est artists  of  the  age,  I  may  even  say  of  all  the  ages. 


If  I  had  a  comparison  to  make  I  should  think  of  Bal-  f 
zac.  Barye  has  understood  the  animal  and  conveyed 
it  with  a  power  ,equal  to  that  which  Balzac  has  mani- 
fested in  those  passionate  researches,  in  which  he  has 
so  poweriully  interpreted  the  heart  of  man.  Both 
have  left  their  ineffaceable  stamp  upon  the  world/' 

1.  Buffalo  Cow 

2.  Eagle  and  Heron 

3.  Leopard 

4.  Leopard  and  Panther. 

5.  Leopard  and  Panther. 

6.  Lion  Walking 

7.  Lion  and  Serpent 

8.  Lizard 

9.  Panther  Devouring  a  Stag 

10.  Small  Turtle 

11.  Tiger  Devouring  an  Antelope 

12.  Turtle 

13.  Two  Rabbits 


(Bas  Relief) 
(Bas  Relief) 


SANSON  (J.)  Romt 

Born,  Nemours 
Pupil  of  Jouffrcy 
Chevalier  of  the  Legion  of  Honor 

14.  The  Musician 
UNKNOWN 

15.  Indian  Hunter  on  Horseback 

16.  Morning — After  Thorwaldsen 

17.  Night— After  Thorwaldsen 


MARBLES 


POWERS  (Hiram)  Florence 
Bom,  Vermont,  1807.   Died,  Florence,  1873 

It  was  in  1826  that  Powers  discovered  his  latent 
talent  for  sculpture.  With  a  quickly  acquired 
knowledge  of  modelling,  he  secured  a  position  as 
general  assistant  and  artist  in  the  waxwork  depart- 
ment of  a  museum  in  Cincinnati  where  certain  of  his 
ingenious  illustrations  of  Dante's  Inferno  awakened 
general  attention.  Powers  then  studied  modelling  and 


casting  thoroughly  and  in  1834  went  to  Washington, 
where  he  modelled  portraits  of  the  President  and 
many  leading  statesmen.  In  1837  he  settled  in  Flor- 
ence, where  his  statue  of  "Eve"  (pronounced  a  mas- 
terpiece by  Thorwaldsen)  and  his  well  known  "Greek 
Slave/'  were  given  to  the  world. 

18.  Bust  of  Washington 

Dated  1864 

BINEHABT  (WiHiam  Henry)  Rome 
Born,  Maryland,  1825.   Died,  Rome,  1874 

A  Statue  of  Chief  Justice  Taney,  ordered  by  the 
State  of  Maryland,  is  at  Annapolis.  Rinehart  is  rep- 
resented at  the  Peabody  Institute  by  "Clytie,"  which 
he  considered  his  masterpiece,  and  at  the  Corcoran 
Gallery  by  "Rebecca." 

19.  Bust  of  Wniiam  P.  Wilstach 

Dated  1870 

UNKNOWN 


20.    Bust  of  Washington 


M 


p.] 


